Why Do Screenwriters Feel Like Executives Ruin Their Screenplays - Kelly Edwards
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- Опубликовано: 30 мар 2023
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As HBO and WarnerMedia’s SVP of Talent Development for seven years, Kelly Edwards oversaw all of the emerging artists programs for HBO, HBOMax, and Turner, both domestic and abroad. Edwards’s career spans both television and film, having served as a key corporate diversity executive at Comcast/NBCUniversal and a creative executive for both film director Garry Marshall and producer Laura Ziskin. After moving to television, she spent six years as a senior executive at Fox, where she developed Living Single, Clueless, and The Wild Thornberrys. As SVP of Comedy Development at UPN, she developed Girlfriends, The Parkers, and Malcolm in the Middle. Edwards also produced the movie of the week A Christmas Detour for Hallmark, and the one-hour drama series Sex, Love, and Secrets. She holds a BA in Theater from Vassar and an MFA in Screenwriting from Emerson. Edwards has served on the Annenberg Inclusion Board, the UNCF Leadership Council, the ATAS Diversity committee, as a Trustee for NALIP, and is a 2019 Sundance Episodic Lab fellow. Kelly's book The Executive Chair: A Writer’s Guide to TV Series Development is now available (via Michael Wiese Productions).
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Excellent interview. I have always believed that any executive giving notes should be an artist themselves. Notes make more sense when someone understands the process of writing & art.
I know this won't happen in the real world of big budget films, but I have tried to either not give notes or give rare notes when I was an exec.
Hear, hear
Creative notes make a lot less sense when the executive responsible was previously working at a company selling Pepsi & bananas lol
Great interview! I think it's better when those giving notes are artists/creatives themselves. I love the allpoetry community because we can share our lyrics, poetry and short stories on there and it's fellow poets commenting on each other's work.
What she doesn't mention is producers who are completely profit-driven, who are _so_ profit-driven that they expect every movie to tick certain boxes.
Like how _every_ movie "needs a love story".
_Every_ kids movie needs a life lesson (usually about believing in yourself).
_Every_ action movie kills off the bad guy instead of incarcerating him (to bring him back for a sequel later, if nothing else).
Every movie needs _this,_ every movie needs _that_ because the past has told us these are the path to success...except what it really does it make everything cookie-cutter generic. I'm so bored with these bucket list film tropes; you see one coming a mile away if you watch enough movies and TV.
I think that's why executives are the enemy: they don't give a toss about what's being made, only that it makes money.
Yet it's the original movies which start trends; from Star Wars to Pulp Fiction, popular movies which are fresh and buck tradition often make bank and start an avalanche of imitators.
Great answers.
I would imagine it's an ego thing. Especially when coming from a non-writer in any form. "They don't understand , they don't know,......." and the excuses roll. I think there is a point though of where you are talking about making a product which has to appeal to people and if you don't then you're at a pure loss most of the time. Though now especially when every other person who learns to format a script considers themselves a writer and artists of the highest degree there is an ego thing. Atleast for most projects and people I have seen
What do you think of executives?
The better ones are few & far between and don't get enough credit. The bad ones, well...
A friend of mine says executives are like managers in these dead end jobs most artists are forced to work. Most of them are dreadful, talentless, scoundrels. But the few who are good are REALLY good. They make it a joy to work with them.
As long as the executive has a fundamental understanding of writing 101, then they should be okay.
Honestly...? _Hate_ them.
Executives are too divorced from audiences, too divorced from _fan culture,_ and they don't get how they're shooting themselves in the foot.
From reboots, remakes, re-imaginings, sequels coming decades too late, and long-established franchises being sold mostly to Disney, executives have proved time and time again that they're willing to completely ruin a fandom for a short-term profit.
Never mind the lore of the previous installments, never mind whether fans will like _this_ movie enough to see the _next_ movie...it doesn't matter to them.
And it feels like betrayal when something you love gets turned into a hot mess. (Nearly had my Rebel Alliance tattoo removed. Fuckin' Disney. **growl** )
It's not a feeling. It's true.
Whoever is paying the band gets to pick the music. Professional writers should expect and be ready to incorporate notes. Part of the job.
Bad example, because here the question is on creation itself. Not curation
In other words, not “picking the songs” but literally telling the musicians what sort of song they should be writing. Which is complete nonsense if the executive has no artistic skill
@@corpsefoot758 Write and play whatever you like for yourself, but the band is being paid for this song. Why would an exec pay for something they don't want?
@@wexwuthor1776
The exec is a collaborator, not an audience member. Please abandon your terrible analogy thank you
@@corpsefoot758 It's the movie "business". Writers get replaced all the time. For better or worse, the exec gets what they want.
@@wexwuthor1776
Execs also get replaced all the time.
Thanks for your input, though 🥱