Confessions From A Former Hollywood Script Reader - Guido Segal
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- čas přidán 4. 05. 2022
- Guido Segal was born in Buenos Aires, Argentina. Before moving to Los Angeles to pursue his MFA in Screenwriting at UCLA, he was a journalist and a film critic, selected as a Juror at la Semaine de la Critique, during the 2014 Cannes Film Festival. Segal has worked as a documentary filmmaker for History and Discovery Channel covering political topics (Asylum Seekers; Sicarios). He also has vast experience as an assistant director and screenwriter for films and TV. Segal co-wrote the Argentinian films Leones (2012) and Kékzsakállú (2016). He was also staffed as a TV writer in three shows: Un Año Para Recordar (2011-2012); La Asombrosa Excursión de Zamba (2014-2016); and Siesta Z (2016). The last two animated shows were nominated for International Emmy Awards in the Kids category. Segal has lived in Argentina, Spain and Finland, and taught Screenwriting and Film Analysis in Universidad del Cine (Buenos Aires), Universitat Pompeu Fabra (Barcelona), TAMK University (Tampere, Finland) and UCLA.
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#writing #writers #screenwriting
People see bad movies an think: "Well, I can write crap like that..."
What they don't realise is that often those were GOOD scripts that were ruined in development and production
Truth.
Hot take: This is what I would say about Josh Trank's Fantastic Four movie.
@@G360LIVE Guillermo Del Toro's Hobbit movies too.
Often, true. But I've also read about how a lot of things that get made are made of currency and how much of it comes along with the script.
Small percentage though.
I love Guido. When he answers a question you can see the wheels turning as he struggles to sift through a storehouse of memories.
I believe Alan Moore said to read "Terrible Books." So you can see what not to do and read similar things to what you write and learn to do it better.
The list starts here: contributions below guys....
@@roathripper The Last Jedi. If I were a film professor this is the first film I’d show my students as a classic case of what you should absolutely not do with every aspect of the script.
Funny. I never knew that. People laugh at me for reading Mills and Boone, I'm like they're great! Nothing better for showing you how NOT to do characterisation.
@@desmondnel5706 BBC Maestro on CZcams. He has some great advice. Which is why I don't understand why there's so many bad writers. Probably cause they get writing advice from Twitter and Reddit. Nothing but Neckbeard cynicism and telling people that they don't need likeable characters. It's everything wrong with entertainment. 😂
@@zionleach3001 Dude! Unintentionally... The Critical Drinker.
Sometimes you have to be "mean" to teach the lessons. I appreciate his honesty. Another great interview. 👍🏻
You would learn so much more if you remove emotion from learning. ; )
@@josephvanwyk2088 Honestly. Emotions aren't even real. Yeah, you feel things but as far as "emotions", those were created to control people
I agree you sometimes have to be mean. I had a college professor for a English course. He was very tough, but he taught me more than anyone else.
Good interview. Brings back so many memories.
I remember when I worked as a freelance script analyst. Of the 100+ I reviewed, about 30-40, I wanted to poke my eyes out (Both script and writer were a pass). Another 20 or so weren't great, but had something that stood out about the writer's voice (Consider the writer, pass on the script). 10-15 were okay (Consider the writer and script). 10 were really good (Recommend). Of the 10 I recommended, 3 were produced.
All 3 of the ones that were produced, none of them were like the draft that I recommended. It was the best education I ever had as a writer. Much better than my degree. Just my thoughts.
Thanks for sharing!
When you were doing that, do you remember how long it took to read a script and then to write coverage? Could you do, like, two scripts a day? Thanks.
@@hiplessboy The most that I did in a day was 2. However, the quality of coverage would definitely degrade due to brain fatigue. I think that happened once in the time I was providing coverage. In general, I had 3 rates for turn around. 5, 3, and 1 day. Most would opt for the 5 day, as during the casting the net phase, things weren't really under time pressure. As a freelance (I used to supplement my regular income, and wasn't an employee of a studio or production company), the work was highly variable. I could go a month or two without any work, and then there would be a week where I would get 5. As a freelancer, I developed my own coverage format, based on a few that I got from friends who worked in the industry at the time. Some companies had specific formats they preferred, others were fine with using mine, as long as they got what they needed.
The general process that I would go through was: Receive Script. Read it straight through once, which would take an hour or two. Set it aside for a couple of hours to let it cool down, and gather my thoughts. Pick it back up and go through it again, in more detail, which could be another two hours. Since I already knew the story, I was looking at more specific things. This is when I would do page notes. Then based on my notes, and specific page references, I'd write between 8 and 10 pages of coverage. Which would take another 3 or 4 hours. So That's a really long way to say, about 6 hours of work to cover a script.
The most surprising thing was when a producer asked me to provide coverage on a galley proof, for possible buying of rights. Something completely new and different. I know all of the horror stories about coverage analysts, script readers, etc., but every time I got a new project, I was rooting for the writer, and hoping that this is one that I can recommend. Nobody sets out to write a bad script, I think, and these writers are taking a risk by putting their work out there, so no matter how poorly written, or unmarketable, I would always try to find something positive.
@@theknave69 how did you get work? Did you have to get your name out there? How? Thank you for sharing this, it’s really insightful
What do you mean none of them were like the draft you recommended? Are they chopped and edited so heavily the story loses its integrity and core message, or are they made more palatable for a mainstream audience?
This Guy just explained why we'll never personally go into the "Studio System".
Less creative control.
Less money for the Creators.
LONG wait times.
#HardPass
I mean, it’s not like the alternatives are very attractive…
@@crunchea622 Beauty is in the Eye of the beholder...
what else do you recommend to enjoy film making and writing, instead of trying to get into the studio systems. Just curious im trying to work on ideas and projects but i like to keep an open mind when it comes to this.
@@theonicommittee8402 tru
@@jeffgallardo3242 Outside the system, the only joy is full creative control and the Captaining of your contributions to the Art form.
Beyond that, there is only Life or Death here.
The problem with any industry is in the name itself. INDUSTRY. Music. Movies. Games. When suits and ties get involved, good scripts get destroyed.
Audiences no longer go to theatres to see dramatic films, they wait till they arrive on Netflix.
I'm glad there's a growing separation between Drama and Pure Cinema. Drama is purely about character - what you mostly see on TV and VOD and in stage plays. CInema refers to films that depend less on literary sources and actors performances and more on suspense, physical comedy, horror, action and spectacle. Going back to Melies and Lumiere.
How I sometimes feel about this industry:
Readers: impress me with your creative artistry, your emotional core and your realistic multifaceted characters...
Studios: Fast and Furious X.
Writers: ... what?
Studios: let's give $9 million to the director of Car Go Boom Boom. It's like Fast and Furious anyway, just with a retool. Just swap out the actors.
Writers: *seething*
Audiences: ugh, this movie sucks! Who is the writer? The trailer was so much better. I'm only going to keep watching this franchise because I'm sure the Studios will find better writers next time.
Sometimes I feel that current film environment would reward us more if we wrote and shot 2 minute movie trailers that go up on CZcams, instead of actually making a film with everything we're taught about the craft.
True 😂
Interesting concept you made. Actually you have a good point.
I think he's absolutely right about the percentage of great scripts that are out there🙂. There is a good reason for that. 😅Unfortunately, I think even though social media has made it easier to get your script to the right people. It's mostly scammers that offer to read your script. I think 95% of people in "The industry" are trying to make money off you. The legit 5% are too busy making films. I think if you want to get your work out there, you have get through the scammers and one day your script will get made.🙏🙂
Many great scripts never reach consideration because of either the subjectivity of the reader or the fear of the subjectivity of the executive. I think that the vast majority of movie goers don't like the material getting produced because it's not about the audience it's about the executives' pleasures.
Interesting to hear how script readers don't pass many scripts because of how it reflects on them, never thought of that before and it's completely understandable.
I'd probably be the same way.
When you're about to do something expensive, you gotta look for reasons _not_ to do it, so that the 2% that's really good is the only thing that can survive
this seemed to finish so quickly… what a great clip
Great to hear!
I appreciate this, Guido is straight up.
It's tough being in such a subjective industry, since this speaker could hate a script and talk about it in this video, but then that script could find a home in another production company since THEIR reader loved it. I'm sure some scripts are objectively bad (poorly structured, dialogue not working, etc.), but that 40% of scripts he termed "bad" were probably better than he was leading us to believe. (Yes, he admits there must have been something working about those scripts for them to even get to his desk, but he still makes it seem like they were LUCKY to get there in the first place).
Subjectivity, as much as many people seem to hate the fact, plays a big part in art in general, screenwriting is no different.
Subjective taste plays into it heavily. I would rather eat glass than read some pretentious arthouse experimental script, but others would adore the intricate characters and meaningful message. Don’t discount the idea that you’ve made critical mistakes in writing your script, but watch out for throwing your scripts at people who wont dig it.
Would love to hear his opinion on festivals!
Favorite!
Dallas buyers club is a great example. 20 years! Great movie.
How was this video helpful to you?
it seems all roads lead to despair....
This is only if you permit your happiness to be destroyed by any old bloke.
I have good ideas but bad at putting them on paper...a movie ran through my head 25 years ago but I still cant sit in front of a computer and type it out.
Netflix has a lot of bad shows they purchase.
I can rarely muster finishing most them.
It is not whether or not a screenplay is awful or not; it's whether they READ OFF THE PAGE.
I'm going through Aaron Sorkin's Masterclass right now; an excellent class. I know my script is great, but it does not come off the page. But I KNOW my final version of the film will be spectacular.
The thing is, as the director, it does not matter that the script isn't a reader, because I am not SELLING it.
Read An American Werewolf in London. That script does not remotely work on the page ... and yet 100% of the first 30 pages is in the final, masterful film ...
what do you mean exactly by reading off the page
@@yaboydolphin I meant read well. I am giving my script one last polish; got through the first 4 pages yesterday, and there isn't a thing I would change. I guess when you get to the point that you are not so critical of your work, as if you are reading it as someone else wrote it.
Writing a script which you’ll be using to direct is so, so much different than writing a script to get sold. It’s about audience and purpose. Still, you should stay disciplined and always write a script like you’re trying to sell it, you’ll rarely fail to see the benefit of a script that people love so much that they’re willing to drop money on it.
I wish we had better narrative material. The most recent bores me to tears 99.9% of the time or is straight up stupid at worst.
Would you ever work as a script reader?
Nope. I wouldn't want my ideas butchered by "The Message!"
I'm glad ideas have to pass on merit and quality, despite evidence to the contrary, but I don't have the heart to tell someone they just aren't good enough when it comes to their art form. Especially because I don't have faith that I would be completely correct, plenty of people have passed on genius scripts of movies that we all hold on high regard. I would hate if my own failure was a roadblock to something truly amazing.
@@RoosterFloyd I feel like if you take the job seriously though and have a passion and knowledge for this stuff you’d be good at it. A lot of drivel and “content” just gets put to screen these days. A writer won’t get better if you don’t show them how they can improve if they need to improve.
He literally just described the pareto principle. 99% bad...1% good.
How can scripts take this long to get shot and others with a 2020 pandemic theme for example have been out so quickly?
Wasn’t Michael Bay involved in one of those? That’s probably the answer.
Hollywood would read squidgame and LOTR and hate it. They take great novels and destroy when they make a movies.
What makes the script a bad script?
Good scripts are non-industrial, non-manufactured and preferably have only one author.
No disrespect on writer duos, though. A great film requires firm vision/leadership.
netflix ten most watched shows aren't good? ... ...so what is the definition of good then?
Netflix has lost 200,000 subscribers, so who’s been green-lighting such off-putting films?
Lol nepotism maybe?
Wow, did not expect him to talk about the murder he committed in '64, I thought this confession was going to be about movie stuff.
This put me to sleep
this guy Guido Segal strikes me as not too bright--I wouldn't hire him
what's up with you guys in these comments being so hateful?
@@marquisterrell5604 theyre not writing great scripts.
@@bluehydrangea5506 That's no reason to be so hateful while not offering any constructive criticism. Is anyone in these comments even a writer? If so, they would understand enough to respect the craft
@@marquisterrell5604 it was a joke. Honestly i dont understand the hateful comments at all other than ge said something they didnt like or they felt personally "attacked" in some way
My ideas aren't lazy. I Jesse gartung AKA Cutiesaurs. Have imagination and knows how to use it. unlike some people.
This guy is in the industry and I respect that but he comes across as a snub. If many people enjoy a movie or TV show - to me it is great as it achieves its objectives. How many 'great scripts' bomb at the box office. Maybe it is me but I would rather the masses appreciate my work rather than a bunch of critics. How many films are deemed 'great now' but were critically panned by critics. Each to their own
I think both perspectives are perfectly valid, and ideally a good writer should be aiming to entertain their audiences *and* garner the respect of critics. The greatest films ever made is always doing both.
What u gone tell her you went off to the North Pole to wrap presents wit Santa ?
I hate his hat.
20 years. 🫤 20 big reasons to self-finance, self-produce and self-publish a much lower budget version of any film, but to each their own. Excellent interview with valuable information.