Director, Producer, Writer discussed on The Q&A with Jeff Goldsmith
Yeah and so eventually, those rules change that but I still talk to writers where they're being graded by the old rules of who adapted which part of the book I? Yeah. So it's it's it's a crazy process, but I wanna get to sideline sorry about that. I don't know you know. It is therapeutic for you though because you've been through multiple arbitrations and you said that like you've kind of come out and being like an advocate for other writers to call when they're an arbitration Oh, what are some of that experiences? Yeah. I mean I think what somebody advice you give to young writers of things to to watch out for when they're doing their first deals you wish you would've known. Yeah I I think part of it too because the the Jane experience was so. Crazy that I feel like it's become a thing where like someone else's going to go really crazy production experience I get, I get the call kind like US Duffield as your therapist a lot of the times it is. You know. On Jane like it would have been like. This perfect storm of everything going wrong. Possible. where I think it's like. Completely like impossible to replicate that experience To me but at thank You know and I was I was really young my second script sale and. So like I didn't have a lot of the protections that I would have now. What are some of those would advise for young riders to have I think gunning for a producer credit is super. Important, and usually is a fights until you're kind of a little older But I think that is like a bigger. Battle that you can fight and win with. You from being fired. Would you say is that? Is that one of the reasons why? Well. You can get fire, but you can't necessarily get excluded absorbed then just get can get messier. It's interesting. You say that because when I did my my podcast for rise of the planet of the Apes. Jerk Rick. Rick Jaffa Amanda Silver were the producers and one of the funniest things they said was they remember firing themselves at least twice and they brought in some other great writers but they they they realized that they had to take themselves out of the out of out of that part of the loop because of what the director in the studio wanted. But then they still were able to come back by the end of it Rehire themselves and stay involved as a producer with some of the decisions to make sure that it didn't completely go off the rails. So I think that's that's great advice. that. Be like a big one that would probably harp on I mean like you know I think in general. I mean the best experience I've had with other directors. was when I had a real say in the matter like the pilot. I made the USA. Match Ackman to directed you know olive. Olive Oliver Yeah forever. That's right. and that was a great. A great experience you know it didn't get picked up like the testing was fantastic. and. It was just like I was like Oh like I know. Who? The person is that I'm going to get along with WHO's going to do a great job all these different things, and it was like a really healthy. I remember that was the first time. I was on a set where it was just like Oh. This is what it's supposed to be like like everyone. In a good place. Everyone's happy like we're all getting. You know it just felt very like like, oh, like yeah. I. Could make this show for a couple of years because I love all the kids love all the crew. was. An expensive I mean is this something that could still get picked up that still shop. I mean because there was also a teen Sean. So everyone's kind of outgrown it. Now. But you still have the scripts you could reboot it with different cast. Yeah. I could probably but I feel like I did it i. feel like. All right fair enough. Like like Hanukkah. But but he was really. Read that was like because obviously TV you have more power by as a producer like being able to be like, no, this is the director that I really believe in really wants You know I think a lot of that can be. A. Really it just kind of start having like that. Healthy. Process. Is like if you're like, Oh, you're kind of part of building the team choosing where the movie winds up in some cases you kind of. Select, your players as it were. and. This is enjoyable experience like I. Know This director loves what I love about the movie because even I. Yeah. Olive. Was the first time. Director pitched me and like that was like you know. So I could hear what Matt was saying that I was just like Oh everything you're saying is what I wanted to here in terms of like what's important to me about this as opposed to the other things we're like other directors were hired and I had no say in that and then you kind of sometimes you show up in your like hopefully this is an awful but other times they're like this other thing you know I really love this other movie that I want this movie to become. And then you're like, oh, that's why. I know everyone needs to work but then they becomes like a frustrating experience because you're just all automatically on a different page when you're able to protect your vision if you're in the room obviously so that. I loved you know I love working with map because he added a lot. To it but I was like he's extremely talented is a nice guy. He can articulate why he thinks these changes are better and so it was not I was like other shows getting better. And my vision is expanding because I'm. Trust this guy. To do great work and honestly, Lynne Ramsay was was really similar. where she was so talented amazing. Yeah. She would have ideas that were crazy and then kind of articulate what she wanted and I was like, Oh, this is better than. What I had because as as a writer like I love taking other people's ideas because then I can just take credit for them Yeah. But like I remember like you know it's like if it's you know if his script by the writers get. blamed. Good and bad arm when someone has a good idea or like better line I'm all about. Improving myself It's It's tough..