Reader Question: Would a studio allow a novice to direct a script they wrote?
A question from Matti in Finland:
I had a question for you, actually. It was inspired by your “The only thing a writer controls is what they write” post and it got me thinking.
Let’s assume a situation where I, basically a nobody, would write a script and try to do my best to get it out there. Now, here’s the thing… there is no way I’d let anybody else direct the script other than me. There are some directors out there whose works I truly admire but even so, I have the confidence that the only person capable of doing the script justice it deserves is me — the writer.
Now, my question to you is, can you say whether that is a possible scenario? Assuming I have no prior credits and I haven’t sold a single screenplay before this one. How likely is it that the studios or the powers that be, would give me the chance to direct the script I wrote myself?
And also, when the writer is also the director, I assume the control of the project as a whole changes significantly? Surely there is more freedom and trust involved, or am I naively mistaken?
Matti, I highly doubt a Hollywood studio would allow a first-timer to direct a movie from their script. However there are extenuating circumstances:
- If the writer has directed one or more feature length or short films and in those projects demonstrated sufficient skill and ability to give the studio confidence the writer could direct a studio movie.
- If the project is a low-budget one or there are other funding sources and the studio is only kicking in a small portion of the budget, in either case minimizing the studio’s risk.
- If they could attach a strong DP and support crew to help ‘steer’ the project production along.
So much of the issue is hitting a studio’s comfort level. It’s tough enough for them to commit to any project (read: fear of failure) even with veteran directors. So anything that can be done to make them comfortable is helpful.
Of course, there are other situations:
- If reps can get the studio to put up a tiny bit of money so a writer can shoot a test, essentially a couple of scenes from their script. I believe that Stephen Sommers did that in order to land the directing gig for his script adaptation of The Adventures of Huck Finn.
- If the writer’s script is so bloody good it sparks a bidding war and the writer (his/her reps) demand as part of the deal that the writer gets to direct the movie. This happens. Rarely, but it happens. And sometimes it doesn’t turn out that well. Case in point, the movie Radio Flyer. Written by David M. Evans, it sold in a bidding war. He negotiated the right to direct it. I believe they made it through just a few days of shooting and the studio did not like the dailies. So they pulled Evans from the project and brought in veteran Dick Donner. [On the movie’s IMDB page — linked above — Evans is listed as an ‘uncredited’ director].
At least in Hollywood, when a writer sells a script, the studio owns it outright, including the copyright, so the studio can do anything they want — include firing the director.
To avoid all that, there’s the indie route: You raise the money, you assemble the crew, you shoot the movie. This gives you the most control of your project. A great model in this respect is John Sayles who, at least early on in his career, wrote studio projects to help fund his own independent movies.
I should note the situation in other film centers around the world might be different than Hollywood.
A final thought: While I deeply admire your commitment to your personal vision of your stories and hope you have the opportunity to write and direct your own movies, you may have to be willing to step back from the exclusivity of that position. In order to work in the business, you first have to get into the business. So be prepared to ask yourself: Am I willing to sell this script to a studio and let someone else direct it in order to begin a screenwriting career and put myself in a position one day to direct my own scripts?
Of course, if you approach your movies as strictly independent projects — again your script, your funding sources, your crews — then you can do whatever you want. But if you want to work within a studio system — them as your partners — then you will almost certainly bump up against that choice of whether you will allow someone else to direct your stories.
And who knows? Maybe a director will share your vision and make the movie you want. Based on this article, Aaron Sorkin seemed to think David Fincher did a fantastic job directing The Social Network.
Any other thoughts from the GITS community, please post in comments.
UPDATE: Directing a short film could pave the way for a first-time writer-director. Both Slingblade (Part 1, Part 2, Part 3) and Whiplash (Link) started out that way.