The Hollywood Screenwriting Game by Rafal Zielinski & Gina Wendkos Video Lecture | Screenwriting: From Beginner to a Pro - Career Development

how do you convince an executive
whomever making these decisions that you
were the person for it without being
overconfident well that's a tricky thing
you know it's like any other
relationship you know women love a
dominant you know persistent man until
he becomes a stalker you know what I
mean it's like you always hear the OH
why do I go out with him but he just
liked me so much and just kept in you
know any charms and it's so easy to go
over that line and it's the same thing
you know with I mean they're not that
they're the same it's the exact same
relationship in that we want something
from them or sometimes they want
something from us and you know it's
always the seesaw of who's hotter at
that moment and who's ever hotter you
know has the power and it what's funny
is it breaks down to even you know it's
so clear you can see where you rate with
like if they come to you for lunch then
you're hotter than them that day if you
go to them you know and it's because la
is so like vast and it takes so much
driving the the person that wants
something from the other person has to
select you know and it's so it's very
interesting to see that like oh I would
never slip for that person but then you
go but then you want something you go
okay you know like so it's it all it's
the same thing with anything that you
are trying to sell and you know but as a
director it's very different because you
know I'm so you know it's this old adage
you know four ain't on the page it ain't
on the stage writers know that and the
industry knows that but there's a lot of
great writers there really are and the
industry knows that you know writers are
like you know the old you know stupid
joke you know of you know the starlet
who came to Hollywood and you know slip
to the writer you know it's like you
know it's like she's the idiot because
the writer doesn't have that power it's
the director you know the pecking order
is the director star or sometimes the
star bigger than
you know but the writer you know the
writer can be replaced it's very hard to
replace the director mid chute you know
and so you know they have to know that
they want to marry that director in a
much he's in chart like I'm in charge of
hundred twenty pages
he's the directors in charge one hundred
and twenty million
you know dollars I mean you know writers
are like like that to a degree and you
have to be okay with that if you're
gonna you know you can't sit around and
whine about getting rewritten I used to
and then I got used to it you know I'm
like what do you mean they're gonna
rewrite me what's wrong with what I
wrote you know and then you know your
agent tells you to shut up and then
after about four years you understand
that now you know everybody is getting
scripts
I mean brookheimer kind of taught me
that like he'd bring on a lot of writers
because he understands it's a product
and he'd he'd know the writer that
writes the best explosions he knows the
writer that writes the best you know
buttons on a scene you know or the one
that knows how to get the dude writing
right you know and so that's why he
never fails you know there if he does is
so rare and but the the money that the
studio has to invest in a director is
just a different deal then then the
writer
you