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as I've identified an idea I felt

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inspired by it I've begun thinking about

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it dreaming about it pitching it telling

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it to people um if that if that

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continues to go well and I haven't sort

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of you know disconnected from it based

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on that um then it gets into the process

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of finding those collaborators I have I

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have written screenplays I don't think

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of myself first and foremost as a

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screenwriter um I'm I'm I'm a very good

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editor but I'll begin talking to the

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executives at imagine for example talk

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to Brian graser about it if it keeps

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building excitement then it's about

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bringing in a

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writer in order to get that writer uh

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financed you'll have to take it to uh a

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studio um those are more conversations

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now the project is having to pass uh

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these these sort of um these these these

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these tests these barriers and you are

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deepening your understanding of its

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strengths and weaknesses as you have

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these

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conversations and

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the the project you know picks up

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momentum if if it's meant to be um and

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uh um then you begin the collaboration

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with a screenwriter who usually has to

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come in um and uh discuss the project

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because he or she doesn't want to take

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the screenplay in a direction that the

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filmmaker doesn't um agree with or the

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studio doesn't want or the producers uh

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you know don't believe in so that's

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another

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conversation so you know projects go

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through weeks months sometimes years of

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this kind of analysis and thought before

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people Fally commit the real resources

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of paying a writer and a writer you know

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uh G given their time to the project and

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that that begins a little thing called

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development

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hell and that's aptly named

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because screenplays are not

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movies they're blueprints for movies and

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yet they're harder to write in many ways

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than novels um you know many writers

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have said that um and there's there's

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something about the

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Rhythm um the the the the sort of

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lean um

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specific uh nature of a movie narrative

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that is so

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demanding uh that it's very very

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difficult to get a screenplay that

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everyone agrees is worth investing in um

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but it's an important litmus test and

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one where

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the the director's

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belief is going to be

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tested because people you know are going

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to doubt some of the choices in that

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script and the director can either um fi

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finds that he or she either can defend

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that script and those choices in an

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articulate um way um or not and if not

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that's a that's a good early signal that

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that's an area of the story that's not

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fulfilling the possibility of the big

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idea the big idea that got everyone

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excited enough to want to have the

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conversation to want to invest the money

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in the development of a screenplay um

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development hell is where most most

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projects go to die you know I don't know

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what the ratio is but it's probably up

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worse than 10 to one terms of projects

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developed to finally uh made whether the

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director is one of the writers or not um

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and it's always

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heartbreaking um

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but uh but sometimes they're just not

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meant to happen um and you know

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heartbreak what is that it's just part

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of the human experience I have found

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over the years that you have to

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understand one thing about directing

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that every project you get involved in

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ultimately is just going to find its way

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to break your heart at some point no

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matter how successful it is there's

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going to be something about it that that

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just disappoints you it can be you

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know that one opinion from that one

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person you care about the most doesn't

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go your way or you know

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you you know you believe in the movie

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and test audiences love it but on the

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weekend that it comes out it

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underperforms and it's never thought of

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as the glowing success that you believe

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it should have or

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you know or uh you know or you you go

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along and everything's great and you get

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to the Academy Awards and um you know uh

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the the person that you're so sure

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should win doesn't and a silly as all

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that sounds there's so much that's at

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stake emotionally that it will for a

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moment break your heart no matter how

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successful the film's been up to that

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point and then uh um but you know almost

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everything is worth experiencing in life

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has that um you know has that attached

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with it uh you know that that you know

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there's that chance for profound

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disappointment once you get that

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screenplay to that point where you know

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it's it's been green lit a lot of things

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have to happen at once your your

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screenplay is Advanced to the point

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where there's a there's a studio there's

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an investor there there's a network

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somebody is saying okay go make it and

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um you know at this point you you spring

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into action because as soon as you get a

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yes you don't want to fool around you

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want to go uh that means you begin

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bringing on your collaborators you

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you're going to you're going to need a

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line producer a line producer a

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production manager the people who are

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going to handle the logist the logistics

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of the movie that's not uncreative it's

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in fact very creative and the screenplay

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never stops evolving because now that

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blueprint needs to become something

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that's that's practical you know and

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it's they they they need to become the

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plans for for um you know that something

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that can be executed um very often

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there's already a um a budget range that

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is um sort of projected onto the project

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there's already been an estimate as to

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what a project like this of cost given

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the format that you're producing it on

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and your goal then is to begin to

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understand the you know the viability of

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that number as it relates to this

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project it's a logistical hassle but

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it's also a very important creative

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question that's going to continue to

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inform the choices that a director must

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make both aesthetic and practical um but

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it always comes back to what is that

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feeling

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that the audience needs so you you have

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to start um answering a lot of basic

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questions where are you going to

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actually shoot this is this going to be

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something where you're you're building

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sets or do you you know or are you going

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to find the location um are you going to

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be forced to find a location that looks

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like one place but in fact is is closer

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to home or in a place that gives you a

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great tax break you know these are these

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are the kind of things that a director

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has to remain involved in because they

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really really influence the the the look

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the feel of the

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story

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sometimes this is so interesting

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sometimes

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those ideas those demands that feel like

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compromises can actually wind up

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benefiting the project not only because

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it frees up more money to do something

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else in another sequence but it actually

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suggests an approach to a scene or

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sequence or a moment um that's different

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than what you'd always imagined maybe

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what you'd always imagined was kind of

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pedestrian and straightforward when we

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were working on a beautiful mind we

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needed a um a mental institution and um

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and it was it was

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um it was one where John Nash played by

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Russell Crow is just beginning we're

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beginning to understand that it's it's

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um um it's very it's a nightmare for for

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him and and it's uh and it's

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real um and um our production designer

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very experienced production designer

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named W Thomas uh found this practical

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location in New York well he was trying

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to find a place that was it was going to

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be very expensive to build so we all

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looked at this and thought this was a

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real compromise and you know and here we

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are trying to save money but it's such

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an important

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scene and W said I don't think it has to

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be a compromise I think it's going to

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help us present to the audience just how

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frightening this place can be because

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it's not conventional it's not exactly

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what you imagine but it we can make it

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be logical and he began to present a way

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of using these kind of tunnels and and

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and shafts of light and so forth in ways

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that were that that if if you see the

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movie you feel it's a th% authentic but

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we were all being too literal about it

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um our production designer

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wasn't well we saved some money and we

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elevated our story in a in a very Artful

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way you need a production designer that

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production designer is very important

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that's a key collaborator because um you

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know the look The aesthetic is um is

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going to be dictated in large part by

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the places you shoot I've come to

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understand that even the greatest

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cinematographers need good locations and

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they're always the first ones to tell

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you it's sure it's about lighting but

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it's about lighting a

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space and if that space is not

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supporting the potential of the scene

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then it's not the right space and

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there's very little a cinematographer

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can do about it um and so that begins a

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collaboration that the director is right

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in the middle of and that is you know

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the

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photography and the you know the the

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physical locations or the sets that are

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going to be built the next big question

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of course is going to be the schedule

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how much time do we have to shoot with

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liveaction production there's never

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enough time I I don't care if you're

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talking about you know David lean and

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doing Lawrence of Arabia in the late 50s

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you know it's it's uh he you know I'm

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sure he felt like he was rushed even

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though it took two years to shoot the

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movie um you know there's always

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something else you could try something

254
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else you could explore so this begins

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another collaboration which is yes

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logistical but still creative because

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it's going to inform the approach to the

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you know this this each scene this is

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where a director's early preparation

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comes in very handy because they start

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ask asking a lot of

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questions like do you think we can get

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these two scenes shot in a single day

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and the director's understanding of what

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the goals are for that scene becomes so

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important if the director doesn't have a

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ready

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answer it doesn't take long in a

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conversation with the cinematographer

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and the first assistant director to

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begin to understand what the goals are

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um aesthetically dramatically

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emotionally

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atically and they can begin working with

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you to um develop a you know a visual

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approach um sometimes the director knows

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what he or she wants visually and then

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it's about talking to your collaborators

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and saying this is what I really need

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for this scene um and uh uh what do you

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think that's going to mean to the

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production and then it's about perhaps

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compromising another scene to make room

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for you know for what the director

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wanted or saying oh that's you want to

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do it all in one shot okay well that's

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you know that's not going to be 6 hours

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of work that's going to be three hours

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of work that actually frees up some time

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to do something else in a different way

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and so these aesthetic choices these

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these questions of taste have a huge

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influence on the production and

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sometimes out of necessity you have to

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modify your creative instincts um in

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order to um you know satisfy by the

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demands of the production so you don't

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go over

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budget that's not a terrible thing

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always

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because there are lots and lots and lots

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of ways to present an idea and a feeling

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if you know what that feeling is

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supposed to be what that that net result

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of that sequence scene or moment is

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supposed to be and that's the sort of

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excitement of building out from the

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screenplay and preparing for you know

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those days of shooting where there's

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going to be tremendous pressure um you

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know money being spent at a ridiculous

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rate um and and a kind of Moment of

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Truth for the director the actors the

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cinematographer and all the people who

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are kind of on the front line of

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actually trying to stage and shoot those

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scenes of course you always feel like

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that's the Beall end all the reality is

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the the editing room is really where the

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film is made but you can't think about

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that at that

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point I always feel that I approach

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every project in in three big phases

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there's that development and prep period

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where you know you're you're thinking

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ahead you're dreaming the big dream it's

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always sometimes it's my favorite period

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because it sort of seems like

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everything's possible then you begin to

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come to terms with what you can really

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attempt to do and you're and you're you

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know you you're you're sharpening your

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Ambitions uh and your focus and your

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appetite and beginning to build the team

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that's going to actually executed the

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middle part is the production you're

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actually shooting now when you're in

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production you know you can hearken back

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to the days when you were planning and

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prepping but it doesn't really matter

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what matters is now this is the day you

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have to shoot this scene yes that was

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the

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plan but you can't be rigid about it I

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always assume that I you know that some

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other knucklehead was the director who

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made this

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plan you know and now I'm stuck with it

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and we have to try to do

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it of course it's not quite that simple

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but I try to separate myself from that

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you go through the production you've

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done everything you can to try to

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capture every moment that you could

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elevating that script uh either uh

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realizing its potential or maybe taking

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it Beyond you know that's exciting using

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the elements that come to you whether

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it's rain or snow or sun or um you know

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a great idea that an actor has or U you

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know or a um you know a a sudden um you

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know a sudden problem that seems like

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it's you know should destroy the scene

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but maybe there's another solution that

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actually takes you in a whole other

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direction you you do everything you can

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to get the idea is that living your mind

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and on on on those script Pages inside

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those frames as frame lines that's

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what's

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important well now you think you've done

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it you've got a you know you have your

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rap party you feel pretty pretty darn

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good about yourself and yet the real

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work is just beginning you might be dog

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tired you might have the flu but it's

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time to go to the editing room and in

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the editing room you are going to take

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this raw material and it's the final

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rewrite and it's the actual making of

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the movie