Those things are nearly always born within a production company, and when they’re not the scriptwriter is almost certainly known – personally and professionally – to the project’s movers and shakers before any contract is ever written When the films are original, there will nearly always be a writer, director, producer team who collectively act as ‘auteur’: the creative brains behind the film.Those British films will often be adaptations, in which case the task will always be given to writers with a track record of some sort.I mean, yes, of course new British films come to the screen all the time, and those things have paid something to their screenwriter. I’d say that well over 90% of the screenwriters we see come to us with feature scripts: 100 to 120 minutes long, and clearly designed for the big screen. So, good, right? A bunch of writers choosing to write for a market that might pay enough to give those people a half-decent living? ( Check data on minimum rates of pay, average payments are well ahead of those minimums.) And we here see plenty of would-be screenwriters bringing us screenplays that range from the visibly-new-at-this-game to the excellent. The average professional screenwriter in the UK earns perhaps 5 times that meagre sum. ![]() Screenwriting, to no surprise, is much better paid. So professional novelists, for example, earn an average £11,000 for their year’s work, yet even so agents reject 999 in every 1,000 manuscripts that come their way. Overall, writers are paid poorly and there is a vast over-production of supply.
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