Hi my name is Sami and I am deaf. I don't write good in English, although I can write screenplay and know its format.

Suppose if I complete the screenplay and I want to be sure that this screenplay is complete accurate and perfect...how do I make sure it is? Do I send it to some script doctor and have them check the format, grammar, and etc? If so then do they have right to share the credit?

--Sami

One of your instincts is right: you do need someone to look over your writing, since your English isn't terrific. I'm guessing you grew up using American Sign Language, which many non-deaf people assume is a direct adaptation of English. It isn't. Not only does the language omit a lot of our needless filler words (such as articles), but it can structure sentences and phrases in much different ways than a spoken language might. This is why, over time, it has become very sophisticated and robust. Unfortunately, fluency in signing doesn't always lend itself to the written word.

Which is where you could use some help.

A "script doctor" isn't really the right term for what you need. That term generally applies to a highly paid screenwriting pro who does specific, short-term work on a screenplay to fix some perceived problem. What you're looking for is really just an editor, someone with stronger grammar skills who can help with spelling, word choice and punctuation. Think of it this way: if you were hired to write a magazine article in French, you wouldn't think twice about having a native speaker look over your work. That's what you need.

Obviously, you should write about whatever subject interests you, but I'd encourage you to seek out the work of other deaf filmmakers. There are at least three deaf film festivals running, and other entries can be found in many of the better programs around the country. There is also the opportunity for cross-over with deaf theater companies, such as the renowned Deaf West Theater in Los Angeles.

Even if your work ends up having nothing to do with deaf issues, you'd benefit from meeting other writers and artists to see how they handle the challenges and opportunities the medium presents.

I am currently in post-production on a documentary film that I directed and edited. The film is about a World Class Martial Arts Team out of Connecticut. As of right now we have our eyes set on self-distributing this film, but we have a problem. We don't know how to split the revenues. I directed and edited the film and I will also be doing the DVD and marketing. The grand master wants his cut too for writing and producing. My question is, on a typical doc how are the profits usually broken down?

-Chris

On a typical doc, there are no profits. However, what grabs my attention about your question is that you are in post-production on a project and you apparently do not have a document in place which defines your credit, participation, ownership, etc. Even on the smallest production, be it documentary, narrative, music video, etc., be sure to write down the terms and conditions under which you are working and how your work, responsibilities and participation interface with others on the project. Obviously it is best if the contract is drawn up by a qualified entertainment lawyer. However, if you cannot afford a lawyer, you should write out the terms in as a great a detail as possible and you and your partners should sign it. A loose, good-intentioned discussion about your working relationship is not enough. It is human nature to hear what you want to hear, think what you want to think, and remember only that which benefits you. A building contractor I once knew explained it very well: “If I tell a customer that it’s going to cost between $50,000 and $100,000 for his room addition, he’s thinking $50,000 and I’m thinking $100,000.” And that’s where you get in trouble if it is not all written down plain and clear. It will protect not only you but also the crew, actors, financiers, grand masters, etc.

Not to get too philosophical about it all, but in the big picture movies really are not that important. That which is important are human relationships and it’s really fascinating to watch how the making of a movie is a crash course in learning about human nature. It really brings out the colors in people. Some of us are honest and keep our word, others are deceitful and dishonest. Every time you find yourself in a dilemma such as you describe, it is so you can learn a lesson about how to do it better next time. Sounds like at this point you need an objective third party to negotiate the terms of your agreement with grand master, but it would have been a lot less headache if you would have done it up front. You need to weigh how much time and money you have put into the work and how much time and money grand master has donated. In my opinion, your filmmaking talents and his martial arts training should be considered equal contributions and not be factored in. Next time you go out without a contract in place you might want to make sure that your partner is not capable of killing a man with a single blow.:-)

I was flipping through TV channels recently and I came across the film Le Pacte des loups or "Brotherhood of the Wolf" as it is called in North America. I saw it in the theatre and now have the DVD, but I was stunned to see this TV version because the motion was quite noticeably different from my DVD. This particular TV version was transferred from PAL at 25 frames per second, much like many of the imported UK shows I see on some channels, and yet the version I had on my DVD was clearly transferred at 24fps. I understand that many foreign films are shot at 25fps and later transferred to 24fps to play in our theatres, but I find the difference in motion quite interesting. 25 is more smooth than 24, but I've always associated dramatic film with 24fps and I often don't like what I see from PAL transferred footage because it begins to approach NTSC's 29.97 frame rate and look too video-like.

Have you shot any features in PAL or 25fps, as opposed to normal 24fps? Which frame rate do you prefer?

-Jeff

I think the differences you noticed were not to do with the 24/25fps factor, but more the way that DVD’s highly compressed information often makes the picture judder with certain kinds of motion. In the present climate of iDigital it is overlooked that DVD is actually quite a crap format as far as motion is concerned. I don’t prefer either frame rate as the eye (at least my eye) can’t detect the difference: ie shot and projected at 24fps or shot and projected at 25fps. However, 25fps is the de-facto standard for PAL TV based on the 50hz cycle that goes with 240v AC. So if a film is shot for TV and released in the cinema, it used to just play slow: now days it can be corrected via a DI.

It’s best to shoot the frame rate that is going to be used. I am surprised about PAL transferred footage being too “video like” – I don’t think the difference of 1fps is likely to do this… We used to shoot some Music Videos at 50fps in the UK and transfer them at 50fps but that I did find “video-like”.. sort of.

A film, TV, PAL or otherwise is transmitted over TV via a very high quality system: Beta or HD. This is far superior to DVD as it compresses the image a lot less, so you will always perceive a higher quality in a film on a decent HD TV or Satellite because DVD is a domestic “cheap” system.

John August's screenwriting credits include Go, Big Fish, Titan A.E. and both Charlie's Angels movies. His current projects include Charlie and the Chocolate Factory, Tarzan, and Corpse Bride. He also maintains a screenwriting-oriented website at johnaugust.com.

Born and raised in Boulder, Colorado, John earned a degree in journalism from Drake University in Iowa, and an MFA in film production from the Peter Stark program at the University of Southern California. He lives in Los Angeles.

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