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Even if the script is given to other writers and rewritten, that first writer created the seeds of that idea and he or she should get some regard. But for a script from a book, it's different. Even if little of the initial efforts remain in the final script, original writers are often awarded credit because they were first on the scene.
As it is common for scripts to be stuck in development hell, the options for a script may expire and be resold on multiple occasions.As well, producers who purchase an option and rework the script own the rights to their own derivative work, while the original rights holder owns the underlying rights.
Spec writing is also unique in that the writer must pitch the idea to producers. In order to sell the script, it must have an excellent title, good writing, and a great logline, laying out what the movie is about. A well-written logline will convey the tone of the film, introduce the main character, and touch on the primary conflict.
Perhaps one movie a year will be a "spec" script that was purchased. Once the producer and writer have sold their approach to the desired subject matter, they begin to work. However, many writers and producers usually pass before a particular concept is realized in a way that is awarded a green light to production.
In the film industry, an option agreement is a contract that "rents" the rights to a source material to a potential film producer. [1] It grants the film producer the exclusive option to purchase rights to the source material if they live up to the terms of the contract and make a film (or series) from it.
Bleecker Street’s “Mass” takes place almost entirely in one room, with four characters. When writer-director Fran Kranz was hunting for funding, he resisted suggestions to “open up” the ...
A scriptment borrows characteristics from both a regular screenplay and a film treatment and is comparable to a step outline: the main text body is similar to an elaborate draft treatment, while usually only major sequences receive scene location headings (), which is different from the extensive slug line formatting in standard screenplays, where every new scene or shot begins with an INT./EXT.
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