Wikipedia

Script doctor

Ascript doctoris a writer or playwright hired by afilm,television,ortheatreproduction companyto rewrite an existing script or improve specific aspects of it, including structure, characterization, dialogue, pacing, themes, and other elements.[1]

Script doctors generally do their workuncreditedfor a variety of commercial and artistic reasons.[examples needed][1][2][3]They are usually brought in for scripts that have been almost "green-lit"[4]during the development and pre-production phases of a film to address specific issues with the script, as identified by the financiers, production team, and cast.[5]

To receive credit, theWriters Guild of America screenwriting credit systemrequires a second screenwriter to contribute more than 50 percent of an original screenplay or 33 percent of an adaptation.[5]Uncredited screenwriters are not eligible to win theAcademy Awardor theWriters Guild of America Award.

Examples

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Many screenwriters have done uncredited work on screenplays:

  • Paul Attanasio:Speed(1994),Air Force One(1997),Armageddon(1998),Patch Adams(1998),Town & Country(2001), andThe Bourne Ultimatum(2007). "I really enjoy doing them. I basically analogize it to being the closer in baseball. There's something about the nature of that kind of pressure, where you're coming in at the ninth inning and throwing your fastball to three batters and leaving, that's exhilarating," Attanasio is quoted as saying from an article in theLos Angeles Timesin 2002.
  • Al Boasberg:The General(1926),A Night at the Opera(1935) andA Day at the Races(1937).[6]
  • Carrie Fisher:Hook(1991),[7]Sister Act(1992),[8]Lethal Weapon 3(1992),[7]Last Action Hero(1993),[9]The River Wild(1994),[7]andThe Wedding Singer(1998).[10]AnEntertainment Weeklyarticle from May 1992 described Fisher as "one of the most sought-after doctors in town."[11][12]When asked if she was still working as a script doctor in December 2008, she said: "I haven't done it for a few years. I did it for many years, and then younger people came to do it and I started to do new things. It was a long, very lucrative episode of my life. But it's complicated to do that. Now it's all changed, actually. Now in order to get a rewrite job, you have to submit your notes for your ideas on how to fix the script. So they can get all the notes from all the different writers, keep the notes and not hire you. That's free work and that's what I always call life-wasting events."[10]
  • Ben Hecht:Twentieth Century(1934),A Star Is Born(1937),Angels with Dirty Faces(1938),Gone with the Wind(1939),Stagecoach(1939),[13]Foreign Correspondent(1940),[14]Cornered(1945),Gilda(1946),RopeandCry of the City(1948),Strangers on a Train(1951),Angel Face(1952),[15]andCleopatra(1963).[16]According to a November 1999 article fromThe Guardian,"[Uncredited script doctoring is] a tradition that goes back to the mighty Ben Hecht. Hecht was a snob, and hanging out at theAlgonquinwithDorothy Parker,it suited him to downplay his movie work, so he only received credit for about half of the 100 plus films he worked on. "[17]
  • Herman J. Mankiewicz:Monkey Business(1931),Horse Feathers(1932),Million Dollar Legs(1932),The Wizard of Oz(1939)
  • Tom Mankiewicz:The Deep(1977),The Spy Who Loved Me(1977),Superman(1978),Moonraker(1979), andSuperman II(1980). He was credited as "creative consultant"onSupermanby directorRichard Donner.[18]In a June 2012 interview, Robert Crane, who co-wrote Mankiewicz's autobiographyMy Life as a Mankiewicz(2012), said: "I think script doctoring was an in road for him. People had liked what they'd seen with the Bond films, especially the dialogue. I think that caught the attention of agents and studio heads, and they said, 'I want Mankiewicz to come in here and work on this project.' He spent a lot of time atWarner BrothersandUniversalworking on scripts. "[19]
  • Elaine May:Reds(1981),Tootsie(1982), andLabyrinth(1986).[3]
  • John Sayles:Apollo 13(1995) andMimic(1997). Sayles has stated that the script doctor's main role is to help others tell their stories. He decides which jobs to accept based on whether there is a germ of an idea for a movie he would actually like to see. He has also stated that he works harder when writing for others than he does on his own work.[20]
  • Aaron Sorkin:Schindler's List(1993),The Rock(1996),Excess Baggage(1997), andEnemy of the State(1998). In an October 2010 interview, Sorkin told a journalist: "With the script doctoring, I did it forJerry Bruckheimerfor a while, because I was just going through a period where I was having a very difficult time coming up with my own ideas and I was climbing the walls. So I did what is called 'the production polish', where you are brought into the last two weeks on something that you are not emotionally invested in, where it is not your job to break the story, to come up with the moving parts and plot points. Basically, they just wanted some snappy dialogue forSean ConneryandNicolas Cage.The first time I did it, actually, was forSchindler's Listwhere no-one is looking for snappy dialogue, but the writer of that movie had gone on to direct a picture and there was a little more work that [director Steven Spielberg] wanted done before it went to Poland to begin shooting. He asked me to come in and do that, but you are obviously more interested in your own thing. "[21]
  • Sir Tom Stoppard:Indiana Jones and the Last Crusade(1989),[22]Sleepy Hollow(1999),[23]andThe Bourne Ultimatum(2007).[24][25]OnThe Bourne Ultimatum,Stoppard said in October 2007, "I wrote a script for [director]Paul Greengrass.Some of the themes are still mine—but I don't think there's a single word of mine in the film. "[25]According to an April 2010 interview withThe Guardian,Stoppard "does uncredited script-doctoring on Hollywood movies, 'about once a year': most recently he worked on Paul Greengrass'sThe Bourne Ultimatum.'The second reason for doing it is that you get to work with people you admire. The first reason, of course, is that it's overpaid.' Once, hearing the phone ring at home while in the shower, he took a call from [director]Steven Spielbergon the set ofSchindler's List,agonising over a scene inSteven Zaillian's script. Standing naked, Stoppard improvised a solution that was used in the movie. He remains bemused by this American habit of invisible script revision. 'I actually got quite angry with Spielberg, who was and is a good friend, and told him just to film Zaillian's script. But Steven, like a lot of other people in movies, tends to think one more opinion can't hurt.'"[24]He also said, "I used to worry about it enormously, but it's a different culture. It's a moral issue, almost. A few years ago, I was invited to a film festival, as a freebie, because I'd done so much work on a movie that they said I should be there. And I said: 'I can't do that, because I'm not supposed to be on this film, and it's unfair to the chap whose name is on it.' But it just goes with the territory: these are the conditions one works under out there."[24]
  • Quentin Tarantino:It's Pat(1994)[26]andCrimson Tide(1995).[17][27]
  • Robert Towne:Bonnie and Clyde(1967),The Godfather(1972), andArmageddon(1998).[17]AuthorPeter Biskindwrites inEasy Riders, Raging Bulls(1998) thatFrancis Ford Coppolaasked Towne if he wanted credit for his contributions to the screenplay ofThe Godfather,and Towne replied: "Don't be ridiculous. I only wrote a couple of fuckin' scenes. If you win an Oscar, thank me."[28]Coppola won theAcademy Award for Best Writing (Adapted Screenplay)and thanked Towne.[29]
  • Joss Whedon:Speed(1994),The Quick and the Dead(1995),[30]Waterworld(1995),Twister(1996),[31]andX-Men(2000).[30]In a September 2001 interview, Whedon said: "Most of the dialogue inSpeedis mine, and a bunch of the characters ", adding that he wasarbitratedout of credit.[30]He also spoke aboutWaterworldandX-Men:"I refer to myself as the world's highest-paidstenographer.This is a situation I've been in a bunch of times. [...]Waterworldwas a good idea, and the script was the classic, 'They have a good idea, then they write a generic script and don't really care about the idea.' When I was brought in, there was no water in the last 40 pages of the script. It all took place on land, or on a ship, or whatever. I'm like, 'Isn't the cool thing about this guy that he has gills?' And no one was listening. I was there basically taking notes from [Kevin Costner], who was very nice, fine to work with, but he was not a writer. And he had written a bunch of stuff that they wouldn't let their staff touch. So I was supposed to be there for a week, and I was there for seven weeks, and I accomplished nothing. I wrote a few puns, and a few scenes that I can't even sit through because they came out so bad. It was the same situation withX-Men.They said, 'Come in and punch up the bigclimax,thethird act,and if you can, make itcheaper.' That was the mandate on both movies, and my response to both movies was, 'The problem with the third act is the first two acts.' But, again, no one was paying attention. [...] And then, inX-Men,not only did they throw out my script and never tell me about it; they actually invited me to theread-through,having thrown out my entire draft without telling me. "[30]
  • Steven E. de Souza:48 Hrs.(1982) andJudge Dredd(1995).[32]In a 2013 interview published byDen of Geek,de Souza acknowledged his role as a script doctor. "I still get brought on to fix screenplays that I had nothing to do with. When a movie is about to be shot and they hire me to come in and fix the script and punch it up at the last minute. In addition, I’m like a patient resuscitator who they can hire secretly after a movie has had a horribletestto rewrite some scenes and re-cut the movie so they can make it good enough to get to home video. That’s my secret identity. "[32]

See also

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References

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  1. ^abJones, Sarah (2004).Film.North Mankato: Smart Apple Media. pp.14–15.ISBN158340256X.
  2. ^Hyman, Paula E.; Moore, Deborah Dash, eds. (1998).Jewish Women in America: An Historical Encyclopedia.New York: Routledge. p.444.ISBN0415919363.Currently [Fisher] works in that great uncredited Hollywood profession of script doctor—or, as Fisher calls it, script nurse.
  3. ^abHurd, Mary G. (2007).Women Directors and Their Films.Westport: Praeger Publishers. p.150.ISBN978-0275985783.She [Elaine May] then became a script doctor, one of a small group of writers who are paid handsome fees by studios to do uncredited work on a script.
  4. ^Appleton, Dina; Yankelevits, Daniel (2010).Hollywood Dealmaking: Negotiating Talent Agreements for Film, TV and New Media(2 ed.). New York: Allworth Press. p. 303.ISBN978-1581156713.A writer hired to 'spruce up' or 'fix' a script, usually by inserting jokes or otherwise adding some 'juice'. These highly paid writers are often hired by studios for brief periods of employment, most often to work on scripts that are very close to being 'green-lit'.
  5. ^abAbramowitz, Rachel (October 27, 2002)."To the rescue?".The Los Angeles Times.RetrievedAugust 17,2012.
  6. ^Erickson, Hal(2015)."Al Boasberg - About This Person".Movies & TV Dept.The New York Times.Archived fromthe originalon 2015-06-11.RetrievedNovember 8,2013.
  7. ^abcMcNamara, Jonathan (April 29, 2008)."Carrie Fisher on Spy in the House of Me, Tinkerbell and being the movie industry's best script doctor".Phoenix New Times.RetrievedAugust 19,2012.
  8. ^Cagle, Jess (May 29, 1992)."The Prayer".Entertainment Weekly.Archived fromthe originalon March 31, 2007.RetrievedAugust 16,2012.
  9. ^Nick De Semlyen,"The Life And Death Of Last Action Hero",Empire,no. 269
  10. ^abSetoodeh, Ramin (December 18, 2008)."Being Carrie Fisher".Newsweek.RetrievedAugust 16,2012.
  11. ^"From sassy princess to work colleague, the Carrie Fisher I knew".CNET.Retrieved2024-07-07.
  12. ^Sherlock, Ben; McCormick, Colin (2022-11-15)."10 Movie Scripts You Didn't Know Carrie Fisher Worked On".ScreenRant.Retrieved2024-07-07.
  13. ^Booker, M. Keith (2011).Historical Dictionary of American Cinema.Lanham: Scarecrow Press. p. 164.ISBN978-0810871922.
  14. ^Phillips, Gene D. (2012).Out of the Shadows: Expanding the Canon of Classic Film Noir.Lanham: Scarecrow Press. p.88.ISBN978-0810881907.
  15. ^Spicer, Andrew (2010).Historical Dictionary of Film Noir.Lanham: Scarecrow Press. pp.129–130.ISBN978-0810859609.He became a Hollywood screenwriter from 1926, valued highly for his contemporary, idiomatic, and vivid prose, and as a ruthless and effective 'script doctor', having a hand in many films noir for which he was uncredited...
  16. ^Kashner, Sam; Schoenberger, Nancy (2010).Furious Love: Elizabeth Taylor, Richard Burton, and the Marriage of the Century.New York: HarperCollins. p.13.ISBN978-0061562846.
  17. ^abcMorris, Mark (November 29, 1999)."Get me Tom Stoppard".The Guardian.RetrievedAugust 17,2012.
  18. ^Nelson, Valerie J. (August 3, 2010)."Tom Mankiewicz dies at 68; screenwriter for James Bond, Superman films".The Los Angeles Times.RetrievedAugust 16,2012.Tom Mankiewicz, a screenwriter and premier script doctor...
  19. ^Konow, David (June 26, 2012)."Think You Know Hollywood? You Don't Know Mank".Script Magazine.RetrievedAugust 19,2012.
  20. ^YouTube, a Google company.YouTube.Archived fromthe originalon 2014-05-01.
  21. ^Lawrence, Will (October 11, 2010)."Facebook movie The Social Network tells a Shakespearean tale of money, power and betrayal".The Herald.RetrievedAugust 16,2012.
  22. ^Koski, Genevieve (May 15, 2008)."Raiders Of The Lost Ark".The A.V. Club.RetrievedAugust 17,2012.Spielberg said, in an 2005 interview withEmpiremagazine, 'Tom is pretty much responsible for every line of dialogue [inIndiana Jones and the Last Crusade].'
  23. ^Nashawty, Chris (November 19, 1999)."Sleepy Hollow: A Head of its Time".Entertainment Weekly.Archived fromthe originalon October 24, 2012.RetrievedAugust 17,2012.On the other hand, it doesn't hurt thatSleepy Hollow's script—credited to Andrew Kevin Walker (Seven)—received a stealthy stem-to-stern overhaul fromShakespeare in Love's Oscar-winning screenwriter Tom Stoppard.
  24. ^abcLawson, Mark (April 14, 2010)."Tom Stoppard: 'I'm the crank in the bus queue'".The Guardian.RetrievedAugust 17,2012.
  25. ^abRapkin, Mickey (October 18, 2007)."Tom Stoppard".Time Out New York.RetrievedAugust 16,2012.
  26. ^Dawson, Jeff (1995).Quentin Tarantino: The Cinema of Cool.New York: Applause Books. p.198.ISBN1557832277.
  27. ^Dawson, p. 61.
  28. ^Biskind, Peter (1998).Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation Saved Hollywood.New York: Simon and Schuster. p.158.ISBN0684857081.
  29. ^Turan, Kenneth (November 27, 1988)."Robert Towne's Hollywood Without Heroes".The New York Times.RetrievedAugust 17,2012.
  30. ^abcdRobinson, Tasha (September 5, 2001)."Joss Whedon".The A.V. Club.RetrievedAugust 19,2012.
  31. ^Jacobs, A.J. (April 25, 1997)."Interview with a Vampire Chronicler".Entertainment Weekly.Archived fromthe originalon October 15, 2007.RetrievedAugust 16,2012.Consider that Whedon, an A-list screenwriter and script doctor...
  32. ^abCecchini, Mike (December 20, 2013)."Steven E. de Souza Talks Commando 2, Sgt. Rock, the Flash Gordon Movie You May Never See, and Much More!".Den of Geek.DoG Tech LLC.Retrieved23 April2022.
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