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Topic: Screenwriting credit

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Chuck Wepner

	Screenwriters :: Screenwriting
		Screenwriters, scenarists or script writers, are authors who write the screenplays from which movies and television programs are made.
		Many of them also work as "script doctors," attempting to change scripts to suit directors or studios; for instance, studio management may have a complaint that the motivations of the characters are unclear or that the dialogue is weak.
		Most professional screenwriters are unionized and are represented by organisations such as the Writers Guild of America.
	arts.gourt.com /Movies/Filmmaking/Screenwriting/Screenwriters.html (323 words)

	WGA screenwriting credit system - Wikipedia, the free encyclopedia
		The credit system also affects writers' eligibility for membership in the union, which is determined on a point system awarded on what a writer has done, and it affects future income.
		While all writers, credited or not, are paid for their work at the time, residual income from future exploitation of a film on video, pay-per-view, broadcast television, and the like, usually is paid only to the credited writers.
		Credit can be apportioned for the story, a short treatment of the plot and characters, and the screenplay itself when all writers were not equally involved in the creation of both.
	en.wikipedia.org /wiki/WGA_screenwriting_credit_system (1900 words)

	Lardner Receives Nantucket's First Annual Writer's Tribute
		Lardner's screenwriting career began in 1939 when producer David O. Selznick asked Lardner and writer Budd Schulberg ("On the Waterfront") to fix the ending to "A Star is Born." That done, Lardner's career as a public relations assistant was over.
		Screenwriting and screenwriters were the themes of the tribute to Lardner at Nantucket on Friday, with the introduction of Lardner handled by Oscar-winning screenwriter, Frank Pierson ("Dog Day Afternoon").
		That attitude by the industry was discussed throughout the evening, with Lardner beginning his remarks by pointedly attacking the apparent universality of the "auteaur theory." The theory assigned the French term "auteur," or "author" in English, to directors, thereby leaving writers in the proverbial dust, credit-wise.
	www.indiewire.com /onthescene/fes_98Nant_980622_Lardner.html (662 words)

	AFI Conservatory: Screenwriting
		Screenwriting Fellows contribute short screenplays to be produced as well as work on crew in order to strengthen on set experience and understanding of the physical production process of visual storytelling.
		Basics of screenwriting in terms of form and structure are outlined in a series of illustrated lecture presentations.
		Each Screenwriting Fellow develops and completes revised drafts of two feature length screenplays, one of which may be substituted with a teleplay or a produced thesis screenplay.
	www.afi.com /education/conservatory/screenwriting.aspx (1451 words)

	who did what to whom
		In the 1930s, when screenwriters organized their first union, their sole demand was that credit for screenwriting be given only to writers who had actually written part of the screenplay.
		Of the 79 credits that went into arbitration, 46 were automatic arbitrations under one of the provisions of the Guildâs contract.
		The Film Credits Committee (and its twin in television, which operates in much the same way) constantly monitors the system, constantly considers possible changes, constantly considers rewriting the rules and procedures (and especially the guidelines for arbiters).
	www.wga.org /writtenby/writtenbysub.aspx?id=1340 (2903 words)

	The Harvard Crimson :: Arts :: Screenwriting for Harvard
		Frank is one of the two kinds of screenwriter on campus—the kind who truly wants his work to bring him commercial success.
		The curious dichotomy of these two groups has produced a unique screenwriting community at Harvard–one that, though loosely bound together, is built on the very concrete dedication and labor of its students to their craft.
		Screenwriting lecturer Mullins describes the first task as being “seized” by a subject–what Abraham explains in more concrete terms as the inspiration for “a basic premise and plot summary.”
	www.thecrimson.com /article.aspx?ref=511959 (2045 words)

	Screen credit - The Boston Globe
		If screenwriting isn't as obscure as, say, sound editing, the role of the screenwriter is peculiarly marginal.
		Derived from the French word for ''author," the ''auteur theory" claims that although moviemaking is a complex collaboration of producers, actors, writers, and a small army of technical specialists, it's the director who is the true ''author" of a film.
		In terms of their importance in film culture-in American culture-you can't compare them." In this view, Mankiewicz's ''Kane" could be seen as a freakish one-off; indeed, very little in his scriptography suggested that such brilliance was lurking, and he enjoyed marginal success afterwards.
	www.boston.com /news/globe/ideas/articles/2006/01/29/screen_credit (1463 words)

	The Artful Writer: Credits Archives
		While the architects of the WGA credits guidelines may have been motivated by prosocial concerns or dramaturgical theory, it’s always safest to assume that the participants in arbitrations will be motivated by self-interest.
		Reach a separate agreement on credits with the other participating writers, which then becomes the final credits for the film (as long as the credits are MBA legal).
		My basic view is that end credits will clearly diminish the value of the front credits, no matter what the specific form they take (Ted argues that “consulting writers” is the best phrasing, since that doesn’t necessarily imply that they made a contribution).
	artfulwriter.com /archives/credits (7891 words)

	Melissa Mathison Biography :: Hollywood.com (Site not responding. Last check: 2007-10-05)
		The sporadic but brilliant career of screenwriter Melissa Mathison offers a vivid case study of an artist who succeeded in maximizing the benefits of each opportunity she was afforded.
		Though she had fewer than a half dozen films to her credit as of 1996, Mathison earned a permanent place in American pop culture as the writer of the reigning domestic box-office champ, "E.T., the Extra-Terrestrial" (1982).
		Clearly this would have been an enviable credit for the most seasoned screenwriter; for a relative neophyte ("E.T." was Mathison's first sole screenwriting credit and her first original screenplay), it was something of a miracle.
	www.hollywood.com /celebs/fulldetail/id/188456 (875 words)

	Screentalk Interview - Patricia Gruben - The Praxis Centre For Screenwriting
		Patricia Gruben is co-founder of the Praxis Centre for Screenwriting, a non-profit organization devoted to the professional development of Canadian screenwriters and filmmakers.
		There are several non-credit screenwriting courses in town, but they fill up, and either don't really deal with the work of the individual writers or if they do, they cost a lot of money.
		In her free time Lynn is an aspiring screenwriter who has been encouraged by placing in the quarter- and semi-finals of several respected screenwriting competitions.
	www.screentalk.biz /interviews/patriciagruben_interview.php (3229 words)

	WFotW ~ Faulkner and Motion Pictures
		Faulkner’s only screenwriting credit for a non-Hawks film was for Slave Ship in 1937, a project he worked on while at Fox when Hawks had moved to another studio.
		It was at Warner Brothers that he wrote the two films for which his reputation as a screenwriter would be secure: his adaptations of Ernest Hemingway's novel To Have and Have Not and Raymond Chandler's detective novel The Big Sleep, both of which were directed by Hawks.
		In addition to these credited screenplays, Faulkner also wrote several scenes for Air Force, a film Hawks was directing but whose screenplay had been written by someone else.
	www.mcsr.olemiss.edu /~egjbp/faulkner/mph.html (697 words)

	Notes from Underdog. : Screenwriting.
		screenwriters) out of our caves and into collaboration, as well as concerned about something that might allow the general public to hack into that brilliant script project one is working on in top secret to avoid the plagiarizing hoards of Hollywood, but it's an intriguing program created with good intentions (by film school graduates).
		I am very new to the world of screenwriting, and although I have started on my own script, I would like to know a few practical details such as formatting the script and translation of the technical terms that need to be included.
		And as a screenwriter, one of the hardest things to do in this age of hyped up, speeded up filmmaking, is to have the courage to write expanded scenes, that is, scenes that take enough time to develop naturally.
	underdog.typepad.com /wandering_outloud_/screenwriting/index.html (10467 words)

	Screenplay Contest Directory and Screenwriting Awards Home - Filmmakers.com
		FilmMakers.com is pleased to announce the finalists in the 6th annual 2006 Filmmakers International Screenwriting Awards.
		The objective of the competition is to honor New Jersey and New Jersey screenwriters.
		The aim is to provide a venue for all screenwriters to compete in a friendly contest with feedback.
	www.filmmakers.com /contests/index.htm (896 words)

	Film Studies Courses (Site not responding. Last check: 2007-10-05)
		Students may not hold credit for both 152.129 and the former 099.129.
		Students may not hold credit for both 152.130 and the former 099.130.
		Students may not hold credit for both 152.343 and the former 099.343 or Screenwriting as previously offered under the title of Special Topics.
	home.cc.umanitoba.ca /~walz/courses.htm (1087 words)

	Great Film Writers
		Declined credit as screenwriter of Altered States (1978), adapted from his novel.
		Among credits as co-screenwriter were adaptations of Ernest HemingwayÕs To Have and Have Not (1944) and Raymond ChandlerÕs The Big Sleep (1946), both directed by frequent Faulkner collaborator Howard Hawks.
		Born in Vienna, began as screenwriter in 1917, as director in 1919.
	alt.tcm.turner.com /DIRECTOR_MONTH/01/02/atoz.htm (3524 words)

	The Sheila Gallien Links Page connects you to other screenwriting services and opportunities. - www.sheilagallien.com
		The largest event in the world for screenwriters, Screenwriting Expo 5 features hundreds of seminars on every aspect of writing imaginable as well as numerous A-list guests of honor.
		Sponsored by Creative Screenwriting magazine, the AAA Screenplay Contest is held twice a year (June and December) and offers big prizes and access to more than 350 production companies, agencies, and managers for its winners.
		The number of books available on screenwriting is staggering and it can be difficult to decide which ones would be the most beneficial for your writing and career, but with detailed reviews of more than 200 books for screenwriters, you should check here before you buy.
	www.sheilagallien.com /links.html (602 words)

	When Film Directors Get the Credit for What Screenwriters Do - New York Times
		Both men shared screenwriting credit for the 1941 academy awards.
		Film is collaborative, and often a screenwriter is an adapter of somebody else's work, just as the director is the adapter of the screenplay.
		The director exercises total control over interpreting the script; the responsibility of bringing it to life on the screen is his.
	query.nytimes.com /gst/fullpage.html?res=950DE0D91E31F936A25751C1A96F948260 (159 words)

	"Best Screenwriting Magazine"--LA Times (Site not responding. Last check: 2007-10-05)
		Working screenwriters discuss in their own words a particular aspect of screenwriting, from the mechanics of writing to the personal and professional impact that writing has had on their lives.
		Screenwriting experts discuss how to approach various aspects of writing and the writing life.
		The guide for this is a writer just diving into screenwriting himself, who asks the pros questions any new screenwriter would have about this brave new world.
	www.creativescreenwriting.com /csdaily/witness/08_19_05_RedEyeSpec.html (1277 words)

	Warren Skaaren Papers, Series Descriptions
		Arrangement is by the final title given to a project (with variant titles supplied in brackets in the folder list), and thereunder by material relating to the writing of a script, including drafts and research files; information about the film's production, publicity, and release; agreements and payments; and screenwriting credit arbitration.
		Arbitration materials provide insight into the contributions of various script writers on a single project, the determination of credit by the Writer's Guild, and the importance of that formal credit.
		Because screenwriting credits changed frequently, author information is also transcribed from the title pages of the screenplays.
	www.hrc.utexas.edu /research/fa/skaaren.series.html (879 words)

	SPLITSVILLE at The Thinking Writer
		Should you get your partner to seriously negotiate, you should seek to negotiate away any credit for screenwriting by her.
		At most, she should share a joint “story by” credit with you and you should have the screenwriting credit.
		Also, her credit (and yours) must be subject to the terms of the WGA if the script sells to a signatory.
	thinkingwriter.com /?p=158 (645 words)

	iFMagazine.com Features - Exclusive Interview: SCREENWRITER DAVID SELTZER HAS DÉJÀ VU WITH THE OMEN
		Screenwriter David Seltzer changed the way we viewed the Book of Revelations when THE OMEN hit theater screens back in 1976.
		As the original OMEN gets a deluxe DVD treatment, the screenwriter reflects on the classic and his thoughts on the remake that he had no involvement in although he received sole screenwriting credit
		Not only did audiences stay far away from kids named Damien, they also began to question if there was indeed a three "sixes" birthmark on their own child’s head.
	www.ifmagazine.com /feature.asp?article=1542 (2614 words)

	MovieBytes - Screenwriting Contests, Screenwriting Competitions, Screenwriting Markets Online
		Being a screenwriter and a film director myself, every time I read one of Allen's scripts I can easily visualize what he is conveying in setting the narrative - and that is what a director wants to see.
		Some highly-regarded writers of screenwriting books espouse the theory of writing everyday, often 'forcing' yourself to get in front of that keyboard and write 'something'.
		A good screenwriter (of course) should know their story inside and out - however, trying to put words into your characters' mouths is the 'bane' of the screenwriter.
	www.moviebytes.com /NewsStory.cfm?StoryID=1806 (1914 words)

	ScreenLab - Book Reviews (Site not responding. Last check: 2007-10-05)
		Of the hundreds of books on screenwriting and allied subjects - from psychology to salesmanship - most are a total waste of time.
		We've read many books on the rules of screenwriting (and there are some good ones) but the only two that probe deeply into why the rules of screenwriting work, and when and why they don't are - this one and Linda Aranson's.
		One of the very best screenwriting textbooks I've read, Aronson's book will work for you as an introduction to the basics, and then stay with you as you develop and begin to delve into more advanced issues such as non-standard structures and flashback structures.
	www.footloosefilms.pwp.blueyonder.co.uk /screenlab/books.htm (949 words)

	UGO Screenwriter's Voice - Feature Article -- Top 11 Highest Paid Screenwriters
		From the mid-eighties to the early nineties, Dale Launer is credited with writing six major films, most of which were quite successful.
		At one point Eszterhas was by far the highest paid screenwriter in the business, and his name has certainly been in the trades, along with other news publications, many times.
		A guest of honor at Creative Screenwriting's Screenwriting Expo 2, he had plenty to share, some of which we'll be posting soon on Screenwriter's Voice.
	screenwriting.ugo.com /screenwriting/top11highestpaidscribes.php (2974 words)

	The Artful Writer: But What I Really Want To Do Is Produce...
		I think this should serve as a reminder to all the aspiring screenwriters on this site to sharpen up their knowledge of the intricies of the business side of things rather than just focusing on the actual craft.
		Posted by: TN_dreamer at July 13, 2005 11:28 AM I’m hoping to be on the upcoming WGA Credits Review Committee, which makes recommendations to the membership to approve (or disapprove).
		Historically, an unspoken agreement developed among showrunners that they and their staffs would not take credit for scripts they had rewritten unless the original writer had given a bad faith effort.
	artfulwriter.com /archives/2005/07/but_what_i_real.html (1945 words)

	Film School - Screenwriting Programs and Workshops (Site not responding. Last check: 2007-10-05)
		In the film industry, screenwriters are now recognized as being just as important as directors in making films.
		The Screenwriting Workshops and Programs of the New York Film Academy are the most comprehensive screenwriting courses of all top film schools.
		Students can develop an idea into a feature length screenplay in as little as eight weeks, or hone their skills in our One-Year Screenwriting Program, and walk away with a body of work to begin their professional screenwriting journey.
	www.nyfa.com /film/programs/screenwriting/index.html (347 words)

	Ronald Bass
		Although his ability to "crack" almost any story into the conventional Aristotelian three acts and continually raise the stakes throughout has made Ronald Bass arguably the most bankable screenwriter in Hollywood, the writer values his structural abilities less than his knack for giving a film "heart" and never hesitates to go for big emotion.
		His exclusive deal with Sony means he often troubleshoots on movies for which he will never receive credit, thus continuing a tradition that by the spring of 1999 had seen him contribute, in one form or another, to more than 100 film and TV projects.
		1995 Received sole screenwriting credit on "Dangerous Minds", though star Michelle Pfeiffer disagreed with him on the film's tone and brought in Elaine May to essentially rewrite it; May's insistence on taking credit only for her original screenplays has led Bass to publicly credit her whenever the subject of this film comes up
	www.screenwritersutopia.com /modules.php?name=ScribeContent&pa=showpage&pid=2734 (1223 words)

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