Aspiring screenwriter: Go Hollywood or go indie?
By, Screenwriter Jurgen Wolff
Because I’ve written a few books about screenwriting I sometimes get questions from people just starting out on their careers. One query that has started coming up more often recently is whether it’s better to chase the Hollywood dream or get involved with indie films, including ones made for the web.
Well, as Socrates once said, “That depends.”
Hollywood is hard to crack. At any given time, people tend to say it has never been harder, but maybe that’s actually true as far as mainstream feature films are concerned these days. It won’t have escaped your attention that the trend is toward movies with huge budgets. Knowing that a picture is going to cost $200 million or more makes decision makers prefer to go with writers and directors with a track record.
Sometimes they do gamble. For instance, they got a guy who’d never directed live action to direct “John Carter.” The outcome of that one probably set back the cause of risk-taking for a few years. On the other hand, maybe that was offset by the success of “The Artist.”
Of course hiring a name director is no guarantee of success, but it gives the decision makers more of an excuse: “His last three were big hits, how could I know this one wouldn’t be?”
The upside of screenwriting for Hollywood
If you do break into that small circle of (mainly) guys who are tapped to write the big summer action pictures, the financial rewards are considerable. The smaller the pool of A-list writers, the more they get paid. It also gives you power. If you write a couple of hits and want to direct, you’ll get the chance. If you want to make a small picture that nobody think will make any money, if they want you badly enough for a big script assignment, you’ll get that, too.
You will also find entities like HBO and Showtime will be interested in hearing your ideas, if you decide at some point you’d like to do a series.
The downside of Hollywood
The power I referred to lasts only as long as your projects are a success. There can be a lot of reasons for a movie to fail other than a bad script. The first time it happens they’ll cut you some slack. If it happens again, the phone calls will slow down. Three strikes and you’ll wonder if your cell phone is broken.
Also, your power doesn’t extend to having final say on what happens with the script. Even the hot writers get rewritten. How’s your tolerance for seeing other people make those decisions without you? Once you’ve turned in your draft, generally they don’t want to have you around any more. As a courtesy (actually, to satisfy the Writers Guild agreements) you’ll get a copy of the script after everybody else has finished messing around with it. A few of those experiences and you may get into the habit of pouring yourself a stiff drink before you turn to page one.
The upside of indie films
The definition of independent cinema has always been a bit vague, and now that people are starting to make films directly for distribution on the web and having success with documentaries and a variety of harder to categorize formats it’s getting even more blurred. For the sake of this discussion, though, let’s assume that we’re talking about anything from no- to micro- to-low budget, and distribution via DVD (not for much longer), or Netflix, or other means via the web.
The upside is that you can write a story that doesn’t have to bring out the teen audience in massive numbers on opening weekend. The breadth of the subjects you can deal with, the pacing options, the opportunity to experiment are all huge advantages.
You’re much more likely to remain involved in the later stages of production, too. Generally indie producers and directors are happy to have the writer around to make adjustments that may be needed during the shoot. It’s much more likely to end up being the story you wanted to tell.
When it comes time to promote the film you’ll probably be asked to help with that, too, because there’s no big star involved who sucks up all the media attention.
There’s also a new model emerging of raising finance through crowdfunding, which Jason has written about on this site a number of times. The idea that you don’t need to convince a banker or manager of an investment fund of the viability of your story, that you can pitch it to your final customers, is exciting and this method of financing is only going to grow.
The downside of indie films
Money, lack of. Starving for your art can be romantic for a while, but eventually you do want to eat something other than peanut butter sandwiches. You may want to start a family, buy a place of your own, take a nice vacation once in a while. All the stuff that sounds hopelessly middle-class when you’re 20 seems a lot more attractive when you hit 35. Of course some indie films break out and make a lot of money, but it’s far from the norm.
The low budget can also impact the quality of the final product. Even if nobody changes your words, the limitations in terms of the cast, the sets, the number of shooting days, and so on can mean the film isn’t as polished as you’d like.
Above I mentioned that you’ll be more involved all the way along, from raising the money to helping to market the film, and I classed those as positives. It’s actually a mixed bag because all that takes time. It can eat up a lot of time you could be spending writing.
What’s the bottom line?
I think it comes down to what you value and your temperament. If you’re a good team player and can separate your ego from the process, and you are excited by the lifestyle that comes with earning a lot of money, then Hollywood may be your best bet. That’s especially true if you like the kinds of films they’re making. If you think they’re crap, don’t kid yourself that you can fake it. Never works.
Even though you’ll have to be able to put your ego aside, you’d better have a strong one to start with. Confidence is a prerequisite. Even arrogance is rewarded in Hollywood more often than it’s punished—assuming you have the writing chops to back it up.
If your primary drive is to tell stories and your values are not heavily weighted toward material things, the indie route is more your thing. There are a number of indie filmmakers whose definition of success is that they make enough money on their last film to be able to make the next one.
If I were starting out today, I’d go for the indie route. But, hey, maybe that’s because I love peanut butter.
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Jurgen Wolff has written more than 100 episodes of television, the mini-series “Midnight Man,” starring Rob Lowe, the feature film “The Real Howard Spitz,” starring Kelsey Grammer, and as been a script doctor on projects starring Eddie Murphy, Michale Caine, Kim Catrall and others. His books include “Your Writing Coach” (Nicholas Brealey Publishing) and “Creativity Now!” (Pearson Publishing). For more tips from Jurgen Wolff, also see www.ScreenwritingSuccess.com