Job Roles in Film and Television Final Draft

Job Roles in Film and Television: Understanding the Industry and the Role of
the Writer Report

Job Roles Within the Commissioning Process

The Producer

According to ScreenSkills (2019), the producer is in charge of making the production run
smoothly. They develop an idea into a script alongside the writer. They are responsible for
hiring the director and it’s important they have a strong relationship with them to ensure
they get the best out of the production creatively. They are also responsible for funding or
sourcing funding for the production so often have to pitch the idea to investors, studios and
distributors and decide the scale and budget of the film. As
well as hiring a director, they are also responsible for hiring
the team and approving locations. It’s important they have
good communication skills so everyone involved is aware of
what they are doing, have extensive knowledge of the
creative process and have suitable budgeting and financial
skills to correctly predict the cost of production and ensuring
every department sticks to the budget. They are one of the
only members of production who works with the entire cast
and crew as well as marketing teams to help to market the
film or TV show to the correct target audience. An example
of a famous film producer is Steven Spielberg. According to
Wikipedia Contributors (2019), Spielberg is an American
director, producer and screenwriter. He is one of the most commercially successful directors
in history and although he is greatly recognised for this, he is also a highly successful
producer having produced nineteen feature films as part of his production company Amblin
Entertainment between 1984 and 1990 with his friends Frank Marshall and Kathleen
Kennedy. Some of these films include The Goonies, The Money Pit, Back to the Future and
Roger Rabbit which are all high grossing films he has produced.

The Director

According to ScreenSkills (2019) the director works with the
writer to bring the script to life with some directors also being
the writer. They are the creative lead in a film and hold the
creative vision throughout the entire process. They work with
the screenwriter to help bring the script to life and also suggest
ideas. They also work with actors on their performance and
with the crew and other departments to ensure the technical
aspects are in place to ensure the best scene possible. They can
be employed by TV broadcasters, production companies or
freelance and can be represented by agents. It’s important that
they share a vision with a range of departments, are good at

managing cast and crew, have a passion for the industry and can draw ideas from various
sources, understand the production process and can perform and succeed in a high stress
environment and be adaptable to change. As they are responsible for the entire creative
vision, it’s important that they have a strong relationship with every department but in
particular, the producer and writer as they work very closely with them. They also work
closely with the editors to ‘cut’ the footage in post-production. An example of a famous
director is Martin Scroses. According to Wikipedia Contributors (2019), Scroses is a director,
producer, writer and actor. He has directed 20 features films and documentaries and loads
of award winning films including The Irishman, Silence and Hugo. He started his career in
1968 an has had a very successful career. As stated previously, some directors direct and
write and Martin Scroses is a good example of this as he has written and directed many
films including Mean streets and Goodfellas.

The Editor

According to ScreenSkills (2020), the editor puts together the pictures footage as they come
in from the set. Their job is to take scenes in non-story order and edit them bit-by-bit into a
whole. In pre-production, editors work closely with the director to decide how to exploit of
the script. Once filming starts, they look at
the footage each day, checking standards
and beginning to put bits together to make
the story make sense. During post-
production, the editor and director will work
closely to refine the assembly edit into a
director’s cut, which must be approved by
producers, until they achieve the final cut.
After that, the music and sound are added
to the mix, a process that editors will
oversee. Editors must be good at storytelling and understand rhyme, tension and pace, be
skilled at using specialist editing software, be able to communicate well with the director
and co-editors and be patient and have attention to detail to make the final cut as polished
as possible. An example of a famous editor is Walter Murch. According to Wikipedia
Contributors (2019), Murch is an American film editor, director, writer and sound designer
who has worked in the industry since 1969. Murch has worked on many films including
Apocalypse Now, The Godfather 1,2 and 3, American Graffiti and The Conversation and has
won three Academy Awards and six nominations for his editing work.

The Screenwriter

According to ScreenSkills (2020), the screenwriter works with the director to bring the ideas
to paper. They either can write based off original ideas or by adapting an existing story or
screenplay or by joining an existing project. They work to very tight deadlines and are
mostly freelance so it’s important that they are disciplined. In film, they develop roughly 3
drafts with the ‘polished’ being pitched to producers and film studios. It’s important that
they understand all the features of a good screenplay, write well and innovatively, have a
wide knowledge of all genres, have a passion for writing and the industry and be

independent to find work for themselves. According to Job Roles in Film & Television:
Understanding the Industry (2006) [DVD], the screenwriter is involved in all aspects of
production. During the preproduction stage, they work with the directors and producers to
work on developing the script. The screenwriter can pitch ideas to directors and producers
or they can work with them to come up with ideas so a script can be developed after. Often

drafts are produced by the screenwriter and shown to
directors and producers where improvements can be
suggested before the production stage. During the
production stage, screenwriters can be present on set to
help the director bring the vision to life although they are
more present in the pre-production stage. In post-
production they can assist editors also in how to sequence
the plot based on there script and work with the director
to make suggestions to the editor on how to improve. An
example of a famous screenwriter is Woody Allen.
According to Wikipedia Contributors (2019), Allen is an
American film director, screenwriter, actor and comedian
with a career spanning over six decades. He began his
career as a comedy writer on Sid Caesar's comedy variety
program, Your Show of Shows, working alongside Mel Brooks, Carl Reiner, Larry Gelbart and
Neil Simon and began writing material for television, published several books featuring
short stories, and writing comedy pieces for The New Yorker. Some films he has written
include ‘What’s new Pussycat’, which was the first film he wrote, ‘What’s up, Tiger Lily?’ and
‘Take the money and run.’ Many of these he co-wrote and he also directed most of the films
he wrote.

Commissioning Bodies

There are five different possible ways to get your screenplay commissioned which includes
via a corporation, an independent production company, independent director or producer,
via an organisation, winning a competitor or you can even self-produce your own script.
Depending on the commissioning body, processes and chances of success are different for
example winning a competition is very difficult especially if there are lots of entries
compared to pitching to an independent producer or director. Not all screenplays that are
commissioned end up actually being made but most of the time writers will still be paid.

Corporations

Approaching large corporations such as the BBC is
a good way of getting a screenplay commissioned.
Smaller corporations are also a good option.
Getting the production companies address, email,
phone number or fax number and requesting to
pitch a script idea to them can often be effective.
Corporates often have bigger budgets and easier
sourcing of funding a work on a larger scale is

good for a big budget script. The best way to get into contact with a corporation though is
often through having an agent to represent you as they can easily get pitches as they are
experienced in doing so.

Independent Production Companies

Smaller companies work on a smaller scale and budget so is good for lowkey low budget
scripts. An example of an independent production company is ‘Forward’ who are located in
Norwich. According to Forward. (n.d.). Video Production Agency, they have worked on
smaller corporate videos and films such as ‘The Blind Photographer.’ Getting to pitch to an
independent production company is often easy but due to the small scale but getting
commissioned can be a lot harder due to their small budgets.

Independent Producers or Directors

Smaller producers or directors look for talent and if they like an idea they will try to source
the crew and funds for the film. For example, Ash Christian is an independent producer and
produced 1985. (2018). [Film] United Kingdom: Peccadillo Pictures. The budget and chances
of being commissioned varies from producer to producer.

Organisations

Approaching a large corporate such as Warner Brothers and Disney can be a good way to
get commissioned. They have large budgets and often crew available however, being
commissioned for an original script may be a lot harder due to them mainly producing
sequels of franchises or because they are looking for very specific things.

Competitions

Competitions are a good way to get commissioned especially for first time writers. They
often are run by production companies, organisations or corporations to find new and
existing writers. A good
example of this is BBC
Writers Room which is a
screenplay competition
which off the back of the
competition, produced
Lethal White which can be
found at www.bbc.co.uk.
(n.d.). According to the
BBC Writer’s Room
website, the platform is
designed to discover,
develop and champion new and existing writing talent. They particularly focus on diversity
and regionality and work with a wide variety if production departments both independent
and related to the BBC to help commission scripts. This is therefore a good opportunities for
new writers looking to break into the industry but also is a great platform for experienced
writers to be recognised with the possibility of being commissioned.

Optioning

A screenplay option is a contracted permission that gives interested parties exclusive
development and shooting rights to your screenplay. Producers and development
executives utilise optioning agreements to save rights to the screenplay, package it and
attempt to produce it. Screenwriters sign a contract but even if their script doesn’t go into
production, they will still be paid a percentage.

Shooting Script

The shooting script is a version of a screenplay used during the production of a motion
picture or TV show. They’re different form spec scripts as they incorporate screen numbers
and follow a well defined procedure that specifies how revisions to the screenplay are
implemented and are circulated among cast and crew. The shooting script is usually created
the director and cinematographer but on small productions the screenwriter may be
involved. This differs to the spec script as the spec script is the originally script the
screenwriter writes and often pitches minus a few changes here and there. There is a set
format for a shooting script that includes scene numbers, camera angles and directions,
detailed special effects, detailed stunt work or action sequences, specific information on
costume, sets and lighting and special notions regarding acting.

Working as a Writer

Agents

Often writers look for someone to represent them. This can be a large company or an
individual. According to Job Roles in Film & Television: Understanding The Industry (2006)
[DVD]. ACT-ED, agents help to find writers work, organise their schedules and make sure
they are on top of projects. Events are a good place to meet agents and giving them a
portfolio of work is often a good start. Its important to meet with an agent before you sign
with them to ensure that you would work well with them. An example of an agency
specialising in literacy is Knighthall which was formed in 1997 originally called Rod Hall but
renamed in 2011. They represent screenwriters and playwriters. They have a dedicated
office in Shoreditch but have contacts worldwide. According to www.knighthallagency.com.
(n.d.), some of their clients include Perrie Balthazal (a key writer on Coronation street),
Simon
Beaufoy
(worked on
the Full Monty
script) and
award winning
writer and
director
Benjamin Bee.
Another
example of an
agency is Jill

Foster Ltd who represents screenwriters specialising in TV and radio. According to Anon,
(n.d.). JFL Agency, some clients include Nathalie Antonia who has worked on ‘Have I got
News for You’ and Adam Bostock Smith who is a writer on day time quiz show, The Chase.
Another agency example is Judy Daish Associates Ltd who represents writers, directors,
designers and choreographers for theatre, film, TV, radio and opera. According to
www.judydaish.com. (n.d.). some of their clients include Levi David Addai and Leo Butler.

What Can Screenwriters Earn and How?

As a writer, there are various different ways to get paid. In the Us, according to
StudioBinder, screenwriters can earn an
average annual wage of $77,000. One
way of getting paid is called against.
Against stands for the value of
unproduced script against produced
script, in other words, the fee if the
project gets the green light. Another
way to get paid is optioning. An option
is a contractual agreement made

between the producer and writer and third party and includes payment to hold ownership
rights to screenplays and optioning price can reach 10% of overall purchase price. Another
way to get paid is a guarantee. This is when money to write the script and paid upfront by
the producers regardless of if the film is made. Another way is a step deal. This is when a fee
is paid upfront, usually split into gradual payments according to targets involved throughout
the process of reaching the final draft. Back end is another payment method. This is when
money is contingent on production and release, such as payments triggered by the first day
of shooting. Bonuses is another way and this is when writers may receive bonuses based
upon performance markers such as box office returns. If a film with a budget of £2 million
the screenwriter will likely receive a minimum of £42,000 and if a film had a budget under
£750,000, then the screenwriter can expect a minimum of £18.000. This goes to show that
the earnings of screenwriters and how they are paid depends on the production and budget
and no screenwriter has a fixed salary, it depends on the projects that the participate in. The
cost of scripts varies a lot though. According to SoCreate (n.d.), the world’s most expensive
script was the 2006 film ‘Déjà vu’ which is a science fiction film written by Terry Rossio and
Bill Marsiii which sold for $5 million.

Professional Presentation

It’s important when being a writer, especially when freelanced or looking to attract an agent
or pitching to producers, to be professional and have good time management skills.
According to Job Roles in Film & Television: Understanding The Industry (2006) [DVD], when
pitching in particular, there are several dos and don’t in order to look professional and sell
your idea the best you can. Firstly, show off what you are pitching and make them feel like
now is the time to be involved and generate lots of excitement around your script or
concept. Secondly, discuss realistic monetary needs. Don’t ask for too much as it will put
them off but yet again don’t ask for too little- be realistic. Make sure your slides look

professional and if you have time make handouts. This makes you seem professional and
like you have considered your pitch which comes across better. This also makes you look
prepared. Make sure you are engaging. If your pitch isn’t engaging they are unlikely to be
exited and won’t listen. A big don’t when pitching is to not take up the entire time with your
pitch; Allow time for conversation and questions as this allows the person you are pitching
to remain engaged. Time management is also a crucial part of being a writer. Meeting
deadlines when being commissioned is essential to be successful. Due to having busy
schedules it’s ok to fit writing in when you can but if it’s your profession it’s important to
allow plenty of time to write in order to meet deadlines. As a writer it’s very useful to have
mobile tools such as phones, laptops and notepads to write and note ideas on the go as
inspiration can come from anywhere and observing the world and using it as inspiration is a
good idea such as basing characters off people you meet or locations based on places you
have been.

Standard Script Format

When writing scripts as well, especially for portfolios it’s important that they follow the BFI
screenplay format to look professional. According to StudioBinder (2019), this includes
labelling scenes, having slug lines in capital letters, having scene directions to give a good
indication of what is going on, having character cues capitalised, having actor directions in
brackets and including dialog in
lower case with a character cue in
front so the actors know who is
speaking. The standard font to use
when writing a script is Courier
Font with most scripts also being
12-point size, single spaced which
allows every character to be
equally spaced and therefore look
‘industry standard.’ This script
format is industry standard and has
been used within the industry for a
long time and is still used today.
This is because screenplay
formatting is an industry-wide
standard that allows the writer to
communicate exactly what will be
seen and heard onscreen. It can be
easily understood by directors,
producers, and other professionals,
which is essential in an industry as
collaborative as filmmaking.
According to Job Roles in Film &
Television: Understanding The
Industry (2006) [DVD], there is such thing as a shooting script. The shooting script is a

version of the screenplay used during production. These are different to the spec script as
they include scene numbers and follow specific colour coding to specify revisions. This script
is usually developed by the director and cinematographer. According to WGA West,
shooting scripts follow a certain colour coding system as industry practice. These are the
standard script revision colour sets and are follow this order: White (unrevised), blue, pink,
yellow, green, goldenrod, buff, salmon, cherry, second blue revision, second pink revision
and so on. This allows all members of production to know how many changes have been
made and is standard in the industry so easy to understand. In terms of the script page
numbering system, initial drafts follow a standard chronological numbering for example
pages 1, 2, 3, 4 and so on, but when it comes to adjustments, if changes are made to a page,
for example page 2 which makes it longer, the pages will be called 2A and 2B so the rest of
the pages aren’t affected. The colour coding and number system are designed in case
changes are to the script during production. This could be for many reason including
changes to characters and costumes, budget problems leading to location changes as well as
suggestions from the director to enhance the script.

Importance of Deadlines

As a screenwriter, it’s extremely important you are able to time manage effectively and
meet deadlines. If a film is late because of delays to a script and the inability to meet
deadlines then this will have a longer lasting impact. This pushes back the production
schedule and therefore when post-production can occur and ultimately when the film can
be released. Actors and crew also have busy schedules so if the script isn’t complete in time
this can lead to the original cast and crew being unavailable and replacements being found
which again takes time. This is why it’s important for screenwriter to be good at meeting
deadline as if not it can impact the entire production negatively.

Legal and Ethical Consideration

Copyright and Plagiarism

As stated in the dictionary, Plagiarism is the “practise of taking someone
else’s work or ideas and passing them
off as your own.” This differs slightly
from copywrite which is a type of
intellectual property that gives the
owner exclusive right to make copies of

creative work. Copyright protects your
work and stops others using it without your permission and
protection is automatic if you create original literacy,
dramatic, artist work, music or sound, film or TV, broadcast
and various other creative forms. A specific example of a
copyright breach is the 2005 film, ‘The Island.’ According to
BBC News Online (2005), the film “parts: The Clonus Horror”
filed suit on ‘The Island’ claiming it was based on their film and
claim that the film uses specific lines, shots, compositions and

sequences from the original 1979 film. The suit asked the court to order the studio to
withdraw the picture from theatres and block further release. In the suit, producers list
ninety instances in which they say ‘The Island’ is identical to ‘Clonus’ such as specific lines
and sequencing. Although ‘The Island’ wasn’t withdrawn, it only grossed $55 million at the
box office despite being made for $120 million meaning the production made a loss rather
than a profit.

Bias

As stated in the dictionary, Bias is the “inclination of prejudice for or against one person or
group, especially in a way considered to be unfair.” This is a bad thing in media as it can
cause misrepresentation and offend large groups. An example of this is Michael Moore’s
‘planet of the humans’ is said to be bias against the idea of green movement which can
negatively influence people. According to Tincq, B. (2020), the Moore documentary was
very bias to a certain way of thinking rather than being balanced like documentaries should.
Although there were no legal cases related to this, bias can still be extremely damaging and
can influence audiences to think a certain way rather than make their own judgements.
Similarly, the 2019 Dan Reed film documentary ‘Leaving Netherland’ which tells the story of
two young boys, now in their thirties who were close to Michael Jackson and how they were
sexually abused by Jackson. The documentary by Reed was accused for being bias against
Jackson and damaging to his legacy which led to the Jackson Estate filing a lawsuit.
According to Variety (2020), Michael Jackson’s estate won the $100 million lawsuit against
HBO over the bias and damaging representation of the late popstar.

Libel and Defamation

Libel is when (as stated in the dictionary) “a published false statement [is] damaging to a
person’s reputation.” This is when a media text can misrepresent a person or show them in
a negative light by accusing them of something that isn’t true that can seriously damage
their career and reputation. Defamation is “the action of damaging the good reputation of
someone: slander or libel” as stated in the dictionary. An example of a film that was
considered to have issues surrounding libel is the 2013 film, Wolf of Wall Street. According
to the Guardian (2014), the Wolf of Wall Street studio was hit with a $25m (£15m)
defamation lawsuit. A stockbroker who worked at the brokerage depicted in Martin
Scorsese's The Wolf of Wall Street filed a $25m lawsuit against the producers of the Oscar-
nominated black comedy for allegedly portraying him as a depraved criminal with an
appetite for drugs and sex. This was therefore very damaging to his reputation and a good
example of libel.

Watershed, Censorship and Certification

A watershed is a time of the day which programming aimed towards mature and adult
audiences is permitted. This is when more explicit content is shown and is designed to
protect a younger audience from viewing. Censorship is the suppression of speech, public
communication of other information on the basis that such material is considered
objectionable, harmful, sensitive or “inconvenient” and is designed to protect from harm.
Certification specifies that a film or video game is only suitable for someone over a certain

age and only those over that age may buy it. Again, this is designed to protect younger
audiences from harm. To ensure that the script is fit for purpose, for example for 15
certificate, writers could read the age rating guidelines which specify what sort of content is
appropriate for what sort of ages and ensure that the content covered in the script and
narrative match those of the classification guidelines, especially if a script is designed for
this purpose as appose to being written then classified after with no specific classification in
mind.

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