ATTN: JMS - Mack and Bo, Gravediggers and The Complete Book of

[B5JMS Poster]

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From: John Anthony Miller <jamiller at dbtech.net>
Date: 19 Mar 1998 20:48:21 -0700
Lines: 29

Dear Joe,
While watching 'Gallery', my wife and I couldn't help but compare Mack
and Bo to the gravediggers in Hamlet.  Was that your intention,
especially in light of Byron's quote from the same act?

I've just finished reading most of 'The Complete Book of Scriptwriting'
and thoroughly enjoyed it but I really appreciated the way you explained
the craft without pretending to tell one how to write a sellable
script.  However, I was unclear on a couple of things.  For instance, I
know that WGA rules prohibit a producer from soliciting anything written
from a freelancer (without paying for it) and so the oral pitch
evolved.  But I got the impression that in some cases it was acceptable
for a freelancer to prepare written treatments in lieu of a pitch if the
writer so decides and the producer agrees.  Is this a correct assumption
or is it better to do an oral pitch?

Finally, I've seen some information that indicates that directors can
take offense when the narrative part of the script is too detailed
because it takes away from their ability to tell the story the way that
they see it.  I got the impression that you feel that one should have
enough of a narrative to tell the story and then it's up to the
director's discretion on whether to use the narrative instructions. 
I've looked at some of Harlan's stuff from Trek and Twilight Zone and
the narrative is beautiful and rich, and I have really enjoyed reading
his scripts, but scripts are made for producing and not reading.  Which
approach do you (as a producer) prefer - minimalist or rich? 

Thanks,
John Miller

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From: jmsatb5 at aol.com (Jms at B5)
Date: 20 Mar 1998 07:10:12 -0700
Lines: 33

>While watching 'Gallery', my wife and I couldn't help but compare Mack
>and Bo to the gravediggers in Hamlet.  Was that your intention,
>especially in light of Byron's quote from the same act?

It did come to mind at various points, but I didn't want to make it an homage
to anything.

> WGA rules prohibit a producer from soliciting anything written
>from a freelancer (without paying for it) and so the oral pitch
>evolved.  But I got the impression that in some cases it was acceptable
>for a freelancer to prepare written treatments in lieu of a pitch if the
>writer so decides and the producer agrees.

Yes, some writers hate to pitch, and prefer to leave pages (called, most
creatively "leave behinds"), which also eliminates the need to rely on the
story editor to properly convey your story to the producer.

>directors can
>take offense when the narrative part of the script is too detailed
>because it takes away from their ability to tell the story the way that
>they see it.  I got the impression that you feel that one should have
>enough of a narrative to tell the story and then it's up to the
>director's discretion on whether to use the narrative instructions.

Screw 'em.  Write it the way you see it.  If they don't like it, they can black
it out; if it scares them that badly that they will fall apart, they shouldn't
be directing.

 jms

(jmsatb5 at aol.com)
B5 Official Fan Club at:
http://www.thestation.com
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