10 TIPS ON HANDLING NOTES AND THE INEVITABLE RE-WRITE

Say what you will about strokes of genius and the image of a writer, possessed, slamming away at his typewriter until the last page of his/her novel is whipped out with an exhausted and proud flourish…. but writing is re-writing.  Or as Ernest Hemingway put it, "The First Draft of Anything is Shit.”  

A comic (Zack Galifinakas maybe?) had a great bit about getting studio notes that went something like this.  Producer, “He’s wearing a hat on page 2 and then he eats rice on page 37… does that really make sense?” 

I admit, I’ve gotten some bad notes in my time.  One producer, I won’t name names, was infamous for receiving a script on his desk, weighing it in his hand and saying, “It’s too heavy – too muc ink on these pages for a rom com!”  I wonder what he does now that everyone is reading scripts on their Kindles and Ipads?   By the way, because of this producer, I developed a staccato style of action-line writing and always attempted to keep my dialogue under three lines.  Oye vey. 

Okay, so I also have to admit, in the spirit of full disclosure, that I’ve been a horrible recipient to notes in my time.  Protective of my poor fetal scripts, I’ve seen collaborative input as a hostile fire and shot back with as much defensive artillery as my inexperienced little ass could muster.  

It’s not easy for writers (as they will surely take great pleasure in telling you).  You create this world and these characters from nothing… from a dream, from a spark while you were walking the dog and you nurture them on the page for (potentially) years of your life and some producer comes in and says, “Yeah it’s great, now change it.”

This gets easier over time or maybe with age or confidence in the process, in your work…  There’s a fine art to caring deeply about your work while allowing others to contribute to it. When you do find that balance, a notes meeting can actually become collaborative – where you are riffing off of the producer and coming up with new stuff on the spot… impressing them with your quick creative wit and spontaneous generation of fixes, new scenes, and solutions!

10 TIPS ON HANDLING NOTES AND THE INEVITABLE RE-WRITE

• CHOOSE YOUR PRODUCER WISELY.  Firstly, it helps if you work with people you like and respect and who like and respect you.  This is almost impossible to do all the time so at least make sure you’re working with people you think are smart and will help make the movie good.

The newly covered title page of my pilot script.
Note in the lower left: "Hooker Scene - Trim?" Ha! 

• OPEN YOUR MIND.  Come on Young Jedi, we’ve all seen the scene in Star Wars where Luke is trying to learn to use the force and he’s all resistant and then finally he gets it.  It’s like typical first half of Act two stuff…  Skip it in your own narrative… Just open your mind to the fact that these people are supposed to be your Yoda and listen -- they may actually have wise things to say.

• TAKE NOTES.  This sounds like a no brainer, right? You’re being given notes so you should take notes… but I think sometimes writers leave a meeting without writing down nearly enough about what’s discussed and inevitably find themselves at home (er, Starbuck’s) unable to remember half of what just happened.    

Let’s assume you did take notes…

• LET IT SINK IN.   Don’t rush home and pop up final draft and bust Act One wide open.  You’re going to have some re-breaking to do, which is going to cause some unraveling… So re-read the notes.  Re-read your script.  Rinse.  Repeat.   Take a day (assuming that you are not being paid tons of money for a last minute polish on a 100 million dollar script that is about to shoot in say… Fiji – btw, if you are, congrats on that).

• MAKE A PLAN.   I do this on paper – on the actual script, usually.  I add notes to the notes.  I get creative all over the damn thing – answering questions, plotting out arcs, new scenes, dialogue snippets.  It's less intimidating if I'm not typing it.  

• CULL IT DOWN.  Sometimes after a particularly creative notes session, there will be too many ideas on the table – some of them may be contradictory, some just won’t work.  Sometimes, what works out loud doesn’t work on the page  - A Producer’s great pitch rings false or derivitive or just not funny… At this point, you make choices.  The producers hired you (hopefully) because they trust you to make it all work… So make it work by choosing which notes enhance the script and re-thinking or ignoring the ones that don’t.  

• PLOT IT OUT.  At this point, if I’m doing a pretty big re-write, I go back to treatment.  Sometimes I do this at the front of the draft that already exists but sometimes cutting and pasting the scenes that worked back in can get confusing.  Regardless, I start from scratch and build it back up.

•  DON’T THROW OUT THE BABY WITH THE BATHWATER.  Even with a page one re-write, there is probably a lot that you loved about a project (you hope) that should survive – at the very least, the crux of the story? The spirit, the thing that made you care about these people in the first place…? Unless of course one of your notes is “There’s no story,” or “We don’t care about these people.” Then you're screwed.  ...I kid.  

• KNOW WHEN TO SAY WHEN:  Sometimes notes just suck.  An Executive is guessing at what their boss will want or they don’t really get what you’re doing and they’ll give a broad, unnecessary note like, “The main character, that guy who saves puppies for a living, he just doesn’t seem likeable.” I once added to a character description, “We can’t help but love this guy,” just to avoid that note.  A friend of mine went one step further.  She took the note with a smile, waited three weeks, turned the script back in with no changes and they LOVED it.

• DON’T BE PRECIOUS:  Don’t go into the hole and shut everybody out.  Call the producers if it will help to throw ideas around.  If you don’t want to do that, call a buddy.  If you don’t have a buddy, go to the gym and chat up the person on the treadmill next to you… a work out will clear your head at least.   And then, as the late, great Bruce Paltrow used to tell me, "Get your ass in the chair and get the pages out!"  

If it helps, remind yourself that when you turn the new version back in, in all likelihood, there will be more notes! 

FINDING YOUR VOICE

The first question that people ask when I tell them that I am a filmmaker is: “What kind of films do you make?”   You might think that this is a simple question because the answers (potentially) are short. “I make political documentaries.” Or “I do thrillers.”  But this is a big, meaty, existential question. What these people are asking is probably the hardest and most fundamental question a filmmaker must answer (after "How do I pay my rent?").  When someone asks: “What kind of films do you make?”, they are really asking, “What kind of stories do you want to tell me?”  They are the Caterpillar and you are Alice and they want to know, “Who are you?”

With Luna, then 5 months,
recording my Voice Over for
THE LAKE EFFECT 

Finding your voice as a filmmaker doesn’t necessarily mean boxing yourself into a genre.  But it is important to understand that with each film that you make, you are building a body of work and you are building a career.  Defining your voice not only helps executives and collaborators understand your vision, it helps audiences know who you are so that they can more easily come along for the next ride.  Most importantly, by exploring your own voice instead of trying to impersonate other directors, you can create truly original work. 

Now, by default, in the beginning of my career, I started writing female leads and by default I started writing about romance (I was 22 when I began this journey and boy problems were tantamount). After several romantic comedies, I tried my hand at an indie script in the hopes of directing it.  Indie in my mind, meant edgier, darker… drama.  My indie script turned out to be a dramedy.   I couldn’t help it… I try to write drama and the “edy” sneaks in.  In fact, when something is funny, it’s the only time I really know it’s working.

So it would seem a simple answer at this point.  What kind of films do you make?  Indie dramedy!   But after surveying my slate (see Blog #8) which now includes several more broad comedies and romantic comedies, as well as a few more TV comedies, I have to admit that the comedy is a common thread, as is thoroughly flawed lead characters, redemption, and a lot of heart.   

  

So, as I embark on my next filmic endeavor, I find myself still pondering (re-pondering?) what my answer is to the “Who are you?” question.  For a while the answer was "Romantic Comedy" then it was "Strong Female Driven Comedy."  Since THE LAKE EFFECT it’s been “Indie Dramedy.”  

Perhaps there is some happy marriage between these things. Trumpets please as I announce that I make "Character Driven Comedies!"  

Alas, it's not as exciting on paper as it sounded in my head.   

The truth is, I am still finding my voice as a filmmaker.  I think I will be for the whole of my career – seeking out nuances, trying to be honest with myself and not just emulate the filmmakers I respect. 

One thing I do believe is that if you’re not in a constant process of discovery, you will stagnate.  So be honest, make mistakes, and trust yourself...  And to find more articulate information on how to find your voice from people who have done it themselves, see:

Director Jason Reitman talk about Finding the magic: 

http://www.depauw.edu/news/?id=25005

Colin Firth find his voice in: The King’s Speech, (which is rightfully up for a whopping 7 Golden Globe nominations) http://www.kingsspeech.com/

#16 RESOLUTE.

As the late, great Michael Jackson said, “This is it.” I believe when Michael said, “this,” he was in fact talking about 2011 and when he said, “it,” he meant GO TIME.

You heard it here first: 2011 is go time.

According to my friends’ status updates on and around New Year’s Eve, 2010 will not be missed.  Granted, 2010 did not greet me with job offers galore or send me diving into gold coins like Scrooge McDuck but personally, I had a pretty great year watching my baby grow into a toddler,

moving to a new part of the city, hopping to some great film festivals… To boot, just before the end of this complicated year, Jennifer Westin called and told me some of the nicest news a filmmaker could hear. Apparently, I’ve been named one of the Top Ten American Indie Filmmakers to Watch by the prestigious Raindance Film Festival! So, happy 2010!

Alright, so in honor of being named one of the Top Ten American Indie Filmmakers to Watch (Beware, I’m going to use that phrase as often as possible… at drinks meetings, baby birthday parties: “Hi, this is Luna and I’m one of the Top Ten American Indie Filmmakers to Watch!”) I’ve decided to kick this wicked cool year off with my own Top Ten list.

Here are…

TARA’S TOP TEN RESOLUTIONS TO BECOMING 
A BIGGER AND BETTER FILMMAKER IN 2011 
(ALSO, WHAT A LONG A TITLE THIS IS)

10) Get another film in the can, namely The Cynics, which has yet to be written. Watch out though – it’s top of the list this month… even though it’s number 10.

T. Summers in
The Lake Effect

9) Collaborate with all the talented artists around me. I’m coming for you, friends. By the way, speaking of ridiculously talented people I’m lucky to know – The Lake Effect’s very own Tara Summers is going to be on ABC’s Private Practice this Thursday, January 6th at 10 pm! Watch and be amazed. Tara is gorgeous and talented and is one of the reasons that THE LAKE EFFECT turned out to be so lovely.

8) Watch more films by amazing directors. I’m going to pick one director per month, watch four of their films, do some research on their process at the nearby Academy of Motion Picture Arts and Sciences, and then blog about it.This month, I’m thinking James Brooks because he’s a writer/director, he’s epic, he’s funny, and he’s someone who does dramedy right (eg: Terms of Endearment, Broadcast News, and As Good As It Gets) and his new flick HOW DO YOU KNOW is still in theaters.

7) Create for the web. I’m totally eager to explore the web as a new format for storytelling. If anyone needs one of the Top Ten American Indie Filmmakers to Watch to help them write or direct some webisodes, you can find me here.

Chase Maser plays the guitar
as "Jace" in The Lake Effect

6) Start playing the guitar again. As a writer, it’s good to have a habit (er, hobby…) that clears your head and doesn’t involve caffeine, drugs, and/or drinking. I had been learning to play guitar when I got pregnant and started work on The Lake Effect… Despite the fact that there are lots of guitars in the film, a year and a half later, my poor Yamaha acoustic is gathering dust. But this year, my baby’s demands for me to, “Strum! Strum!” will be answered.

5) Read more. I mean news, reviews, articles, etc. That’s where my best inspiration has come.That and from my crazy family and friends, which brings me to…

4) Spend more time with my crazy family and friends (and convince them that their lives should be fair game for me to write about).

3) Read the trades (or at least Deadline Hollywood) more. Once a week. Okay once a month… at least.

2) Get a steady writing gig! Seriously – this little writer needs to support her indie film habit which is why when I’m not scribbling this blog, I am busy scribbling lots of words on pages intended for the television. Hopefully, I will land a sweet gig on a TV writing staff and you will be able to see my name on the TV screen sometime this year, which brings me to…

1) Get The Lake Effect to a screen near you. Be it movie, TV, or laptop. You wanna see this movie? In 2011, you will!

#15 IMPROV AND THE HOLIDAY SPIRIT

Okay, so one of my favorite actresses (who also happens to be one of my best friends) was in LA recently working with me on THE CYNICS.  We were brainstorming her character (a wise-cracking, recovering alcoholic bride-to-be) within the treatment and she reminded me about my favorite theatre game in the world.  The “YES! And…” Game. 

The improv game "Yes And" follows a vital rule of improvisational theater: Never deny your fellow actor.

So Actor 1 and Actor 2 are on stage and Actor 1 kicks off the improv with:

“I’m so glad we started this toilet paper company together.”

Actor 2 supports and adds to this idea: “Yes!  And I love that we decided to call it ‘ASSWIPES INC.’”

Actor 1: “Yes!  Everytime someone sees me in the street now when they yell, “’Hey ASSWIPE!’  I know they’re talking to me.” 

And so on. 

It keeps a scene going (Yes! And…) it keeps the energy going, (Yes! And…) it keeps the ideas flowing.  (Yes! And…) It makes me happy. 

I mean, really us writers can be so negative.  Heck us people can be so negative.  Imagine the lost potential if Actor 1 had said, “I’m so glad that we started this toilet paper company together” and Actor 2 had responded, “No we didn’t.”  Game over.

I think all writers should practice the “Yes.  And…” game, even if it’s in their own heads – especially when breaking a story.  It’s perfect for comedy because it helps you top the top. Let’s imagine… your lead character is in an interview with his zipper down (YES!  And…) He shakes his hips to emphasize that how excited he is about the job.  (Yes!  And…) His Superman underoos peek out!

I would imagine that it would work for drama or horror – There’s a killer on the loose. (Yes! And…) She’s is a little girl. (Yes!  And…) She’s a dead little zombie girl!  (Yes! And…) She likes to eat her victims!  See how fun this can be?

Mr. and Mrs. Fezziwig playing the
"YES! And..." Game in A Christmas Carol

I propose that this holiday season, everyone tries to play the “Yes! And…” game at least once.  When your wife recommends that you wake up at 5 am to open toys with the kids, try shouting with glee, “Yes! And I’ll put on my Star Wars Christmas in the Stars Christmas record!”  Perhaps she’ll catch the spirit and reward your positivity and energy with her own resounding “Yes!  And I’ll spike our coffees!”

Happy Holidays from THE LAKE EFFECT family to yours.


YES!  And… See you in 2011! 

#14 Baby Needs a New Pair of Shoes

Luna teeny tiny baby booties need replacin'.
It's time to make some moolah.

So, as I may have mentioned, The Lake Effect is looking for a sales agent. In our hot pursuit, I had to get a screener to a company in Santa Monica on Friday.  With no babysitter and no runner, I loaded Luna up and hit the road.  

I buzzed the office from the street and let Luna press the button for the elevator.  I prepared myself for the confused looks from the people working the front desk.  Babies and work places just don’t go together, it seems. I didn't anticipate that the front office of this company would have glass walls, so that when I walked in with Luna on my hip, we had a nice little audience.  

Now, the term “deer in headlights,” is overused... but I would argue it's for good reason – we shot THE LAKE EFFECT in Michigan, where I witnessed a deer in headlights for the first time and they really do just stand there, staring at your approaching headlights with this wide eyed gaze... anyway, in the spirit of Michigan I think it’s appropriate to use the overused metaphor here.   The office workers just gaped at us like deer in headlights.  (A side note to this side note, when I arrived in South Haven after a three hour car ride from Detroit, I commented on the high number of dead deer on the highway.  Our intern Liz, smiled and said, “Oh, those are our welcome signs.”  How I miss our smart-mouthed Michigan interns.  Especially when I have to be my own runner.)  

Right, so I walk into the office with Luna on my hip and the whole office just stops and stares at us like (all together now) deer in headlights. 

I smile and hand the manila envelope over to the guy at the front desk.  “Hi, I have a drop off for Joe Sales Agent.”

“Thanks.”

I wonder if they think I'm a runner and doing some sort of take the kid to work day.  I check in with Luna, who is returning the office workers’ wide eyed stares. “Say buh-bye.”

“Bah-bye.”

And then the stunned deers’ faces thaw out into awed smiles.  They are still cooing, give cutesy waves as we leave.  

I let Luna walk down the hallway holding my finger and there's just something about how it's all working out that makes me feel so peaceful.  Like whatever this sales agent says or whatever happens with the movie is exactly what should happen.  

After promising Luna that she can press the elevator button, I say, “You know what, Luna?  This right here is one of my very best moments ever.”  

#13 Write the Trailer

So after a fun family-filled holiday weekend, I am always raring to get back to work and get pages out.  Of course, there are lots of steps that need to happen before I get pages out – brainstorming, character development, treatments… I thought I would share one of my favorite writing exercises with you all. 

Basically, I write the trailer for the movie I haven’t yet completed the script for.  For me, as a director/writer - I dream visually, so it helps to do this before I’ve finished all my scene breakdowns and character development.   If I can create poignant glimpses into the story for a two minute teaser, it helps me stay on point through the rest of the work.   It helps me visualize what Act Two is all about.  It’s also a great reminder that (duh) the film has to be compelling: dynamic in the individual moments as well as in the big picture. 

I actually pulled out the trailer script to THE LAKE EFFECT when we were cutting the trailer after the movie was finished to remind myself what I originally felt were the trailer-worthy moments in the film – what would bring people into a theatre?

Anyway, here’s a rough trailer script for the CYNICS.  Hope you enjoy it!  

BLOG # 12 AN ATTITUDE OF GRATITUDE

T-minus two days to GOBBLE GOBBLE!  

This year, my husband and I are hosting Thanksgiving, which means we’ve spent a fortune at Trader Joe’s, we have a turkey bathing in brine in our teeny fridge and I have to clean the house…  Giving thanks is a lot of work. 

It’s true, isn’t it?  Giving thanks is a lot of work.  It’s so much easier to complain!  (And often funnier.  See Seinfeld.)  We’re champs at seeing what’s missing from our lives, seeing the lack – whether it be time or money or love or a flat screen HDTV (Now you know what to get me for Christmas).

We filmmakers are especially guilty of this. We kvetch that there’s not enough time or money, not enough crew, not enough light…  While I was making the most money I ever made as a screenwriter, I opined the lack of creative control, the lack of respect, the lack of time to focus on my other projects.  

Appreciating the good stuff is just… harder.  For some reason, it takes a concerted effort to see what is right in front of us. 

I love Thanksgiving (minus it’s perverted neighbor Black Friday – sometimes I swear we’re living in some dystopian future out of a Margaret Atwood novel).   But I digress (shocker); in the spirit of the holiday, I’m cultivating an attitude of gratitude, focusing on the abundance instead of the lack.  There’s so much to be thankful for!  (I just burst into Dr. Suess book writing – Eye Book, anyone?  “So many things!  Like rain and pie and airplanes way up in the sky!”)

Beyond the obvious: I have a roof over my head, a devoted husband, a beautiful child, a loving family, and the best friends… I am thanking my lucky stars that Producer Jennifer Westin gave me the chance to make The Lake Effect.  I’m grateful for the cast and crew who gave their talents and tireless efforts to put the story on the screen.  I’m grateful for the family and friends who enabled me (as a new mom) to get the film through post and out to festivals.  I’m grateful for the awesome responses we’ve received from audiences…

The list is endless: I’m not making porno (nothing wrong with porno, just glad I’m not making it), I’m not pregnant (Again, nothing wrong with being pregnant, just not ready for #2 yet.), and you are reading this right now… thanks, you! 

Hope you’re inspired to see the good stuff this Thanksgiving weekend... CHEERS!