At the end of your excellent discussion on the usage of script versus screenplay, you make a comparison between one page of a screenplay and one page from a TV drama.

Format-wise, they may be similar, but as the mediums are different (television for all its visual acumen is very much a dialogue based medium compared to film) would this not be apparent in the writing on these same pages under comparison?

-- Bob Cousins

In certain cases, yes. A script for "Law and Order" is almost entirely dialogue in the second half, when the court case kicks in. "The West Wing" is all talking, all the time. If you looked at any one page from these scripts, you might be able to guess that it's a TV show.

But a page from "Alias" or "Angel" or "Smallville" looks and feels exactly like a feature. With the exception of act breaks, the flow of words on the page is no different than a 120 page screenplay.

That's one reason why I would highly recommend any budding screenwriter try writing an episode of their favorite one-hour drama. It's a great exercise in getting comfortable with the challenges of the format. In fact, the very first script I ever "wrote" was an episode of "Star Trek: The Next Generation," which I literally transcribed from tape. (I was 19 at the time. The episode was "Galaxy's Child," teleplay by Marice Hurley, story by Thomas Kortozian.) For the cost of a few hours, I learned a lot about scene length and story pacing, and it got me over my fear of screenplays.

I have directed a full length feature film from a script that I have written on a budget of less than fifty thousand. I have now started the festival submission process and was wondering if you would advise approaching managers and agents now, or if I should wait until I have been legitimized by a festival or two? Also, how does one make the transition from independent films to studio fare?

-Herman

Since I do not know the subject matter of the film your film nor the quality of the execution (I will assume brilliant), it is difficult to recommend whether or not you should seek representation from an agent or manager. Personally, I do not have an agent or a manager as I figure if someone wants to communicate with me, I am a couple of clicks away. You probably think an agent or a manager might be able to get you a job, but if you are an unknown director they will most likely be reticent to take you on.

The most interesting part of your question, however, is: “How does one make the transition from independent films to studio fare?” Without a doubt, all of us who have made the transition did so in each of our own different and unique ways. The most likely way is if you have made a film on a certain subject, a certain style or perspective and a studio is looking to make a film related to that subject, style or perspective they might be inclined to hire you. For example, I often say one of the main reasons I was cast to direct my first studio movie, Wayne’s World was because I had just directed The Decline of Western Civilization: Part II, The Metal Years (long title, huh?) There were very few experienced directors who had first hand, street level experience with head bangers… (if you can call Wayne and Garth head bangers). Studios will do anything they can to minimize their risks. To hire a director that has proven he or she can perform excellently within a certain genre is one way to cut risk. Perhaps, however, a more important issue related to your question is: Why is making the transition from independent to studios a goal? In my opinion a director should chose which film she or he will make next dependent first upon subject matter and appropriateness to one’s propensities and abilities. People tend to equate making studio movies with making money and achieving fame, neither of which are valid goals in my opinion. The goal should be to do great films that make a difference in the world, films that are hopefully a contribution toward making the world better. If you can do that with a studio movie, then fine. If you can to that with independent means, then fine.

Can you offer some depth as to how location scouts operate? Are they employed by a studio or do they work in a particular region for whatever films come to their area? What sort of experience/education do they possess to do this job well?

-Sean

You might want to read what I have to say about this job on www.cineman.co.uk before you commit to it! They are all freelance and employed for a particular film/TV production. Most operate in a particular area like LA, NY etc. The problem with being a location scout in say Paris, Texas, is that not too much work will come your way. If, on the other hand, you set up in LA then there is plenty of work but lots of people wanting it.

In principle a bigger film will have a location manager who oversees all the locations and employs local locations people to help him/her. A smaller film might be done by the same manager also managing the smaller locations.

The interesting part of the job – and the reason that the best location managers are paid well – is that you become attached to certain production designers who take you on to their films. In Venice last year for Casanova, the location manager was American and had never been to Venice. This irritated the local producer, but in fact the location manager has to have a good understanding of not just the geography (which he can employ local people for) but also the tone of the film which comes from the director and production designer. As far as experience/education is concerned I would say the following qualities are essential:

1. Own a Car.

2. Speak English.

3. Good memory.

4. Reasonable Photographer and able to cope with digi technology.

5. Able to cope with harassed and violent members of the public.

6. Able to cope with harassed and violent members of the crew!

7. Able to function on 5 hrs sleep.

8. Not mind standing in cold and rain at 5am.

9. Charm.

The good news is that you don’t have to have one single exam pass to your credit to qualify as above!

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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