Bad writing for film and television really irks me because of how avoidable it is. I’m not talking about mediocre or lackluster writing, but the actual bad writing.
TV shows and movies are tremendously expensive to make. Every part of it costs a fortune except for one: the writing. Even if a studio or production company was paying for a whole team of writers to work full time it’s still only a fraction of the cost of paying film crews, actors, editors, and VFX artists.
Given the relatively lower expense, relative lack of time constraints, and enormous importance of the script to the overall quality of the product it absolutely boggles my mind that production companies consistently fuck up the writing process.
It’s like reading a news article and seeing horribly constructed sentences and typos. Like, this is your main job! I know there are a lot of English majors out there who would love to find work.
At least for some of those there’s an excuse of needing to get the news out ASAP, but there’s no reason an in depth piece or an online article that’s been up for a few days should be butchered.
Really though writing should be the least important part of a journalists job, digging through stories and finding the truth or understanding the complex strands of the story should be and that often involves going back and editing, restructuring, reediting, reworking and adding to it over and over again.
It gets really hard to see your writing with fresh eyes once you’ve got it so perfectly constructed in your head, it’s super easy to miss awkward mistakes that have crept in - this is why editors were a thing but newspapers rarely bother anymore or the editor is too focused on political and social acceptable to notice grammar or word choice errors
Basically movies that cost almost nothing to make and use great writing to build up the world. Our minds are really good and fleshing out the rest as long as their given good writing as a foundation. Productions could save a lot of money with good writing. It blows my mind you could sink $200 million dollars into a project and not have an absolutely flawless script.
It’s completely beyond me why scripts get rushed out the door before they’re at the very least solid. Sure, a production company might make their money just a little bit sooner but they run a massive risk of losing all of their money making a movie that completely bombs.
It’s impossible for every script to be a masterwork, but holy crap it seems like an audience wanting a competent script is too much to ask. It’s not like there’s a shortage of aspiring writers that can take a crack at a script until it’s at least passable.
I never said they’re mutually exclusive. There’s tons of big budget explosion movies that have great scripts. Dark Knight, Casino Royale, Matrix, The Bourne movies, Heat. The best movies have legs and continue to sell for years after release, exploding sun only gets you a good opening weekend.
It’s crazy cause if you hear writers in tv talk about it, they’ll get contracted like a month or two before they have to finish the first batch of scripts. Writing in Hollywood is as much about learning quick writing shortcuts/tropes to move the plot along to get the product out on time as it is being able to develop a plot.
That’s what sticks in my craw. If I’m a studio exec who’s going to invest potentially hundreds of millions of dollars it’s beyond stupid to jeopardize that to get a payout a little faster.
It just seems stupid to put a time crunch on the most important phase of your investment. I don’t see how taking a greater risk of a project being a flop is worth getting the script a few weeks sooner.
I think a lot is because Hollywood became a Henry Ford production process, one part feeds into the next so they’d have empty studios and workers idle if the next idea isn’t ready to go.
Also it literally doesn’t matter, this marvel film has literally the same plot and jokes as the last one? That’s ok we cooked up a drama where we pretend villainous gamers are against it to get people talking about it, we seeded stories into the media we own about it and forced our celebrities to pretend to love it…
They can make the absolute worst shit and as long as they link it to something vaguely related to some culturally significant thing it’ll be huge, even more so if they can link it to a social divide or political division they have no intention of ever actually caring about.
Childhood toy + social flag = money, it works for comic books ‘i had a the flash t-shirt when I was six I have to like these new films’, it worked with Barbie ‘this proconsumerism corporate tat which was heavily criticised by notable feminists has made a film attempting to shoehorn social progress back into a corporate friendly sales generating mush, they say the baddies don’t like it so I have to go see it!’, and it works with endless sequels ‘this franchise now makes zero sense, has the most painfully predictable plots, has gone so far off the rails jumping sharks that literally nothing makes sense and there are zero stakes to any of it which totally ruins everything that made the first one good…’ and you can’t even tell what I’m talking about with that because it’s everything (i was thinking john wick btw)
Make something actually good and no one will care unless the media circus tells them to, that’s how you get s flop. Make something even slightly changing intellectually or from a certain point of view and instantly most your audience is gone or angry, but be like Barbie and put sparkle on social concepts 90% of the world has agreed on for decades while actively avoiding anything more contentious then you don’t need to worry about alienating the audience or going over their heads.
And for some reason people just won’t stop watching it, they won’t watch indy stuff made with passion or small budget things no matter how good they are because they HAVE to see the big releases, like you’ll lose touch with society and be unable to make friends if you don’t force yourself to endure at least a dozen painfully dull industry movies a year.
My pet theory is that this is because of the assembly line way of thinking of studios. Script -> Casting -> Shooting -> VFX -> Editing -> Profit.
It takes time to develop a good idea and script. If you force a writer to adhere to a strict schedule you’ll get a rush job and bad writing. As long as money keeps flowing in, their assembly line theory is validated.
i wouldn’t be surprised if a big part of it is that the higher ups don’t know much about what good writing actually is, or they’re too focused on ratings and they don’t dare deviate from “what works”. it also wouldn’t surprise me if writers weren’t allowed to make “major” changes to scripts after seeing how the writing looks after scenes have been recorded, because it might be “too expensive to change”.
Because writing doesn’t really work like that, the reason we get bland writing is because they keep adding extra chefs.
Thay get these professional writers that learned formula in school and apply it to sections of someone else’s work and wonder why the result is an ugly tapestry of formulaic rubbish.
All the things people love are written by people with passion for the project, then they get a budget increase and professional industry writers get brought in and it’s all shitty generic snappy dialog and dramatic posing that feels uncomfortable and awkward in the scene.
I’m sure there’s plenty of those making a mess of things, but taking time in the writing process, getting input from relevant parties, and doing as much preparation as possible cuts out a myriad of problems.
Studio got a product placement deal? Great, let’s integrate that into the story long before filming even begins so it feels natural.
Director doesn’t know if he wants plot point A to happen or not? Good thing he heard about that while the movie was just a script instead of having him decide with dozens of people on set.
I’m sure there are uncontrollable, unforeseeable problems that will come up in any production. There is no reason to exacerbate those by being willfully unprepared. An ounce of prevention is worth a pound of cure but it seems like film studios reliably hamper the “prevention” part to shave a few weeks off on prep time and end up losing more time or huge piles of money because of it.
Bad writing for film and television really irks me because of how avoidable it is. I’m not talking about mediocre or lackluster writing, but the actual bad writing.
TV shows and movies are tremendously expensive to make. Every part of it costs a fortune except for one: the writing. Even if a studio or production company was paying for a whole team of writers to work full time it’s still only a fraction of the cost of paying film crews, actors, editors, and VFX artists.
Given the relatively lower expense, relative lack of time constraints, and enormous importance of the script to the overall quality of the product it absolutely boggles my mind that production companies consistently fuck up the writing process.
It’s like reading a news article and seeing horribly constructed sentences and typos. Like, this is your main job! I know there are a lot of English majors out there who would love to find work.
Dropped subplots is like reading a news article with sentences that are
Great, now I have to find page B12.
This guy has birds and a good morning ritual.
I got the results of the tests back. I definitely have breast cancer.
You’re tearing me apart!
they truly are 😔
At least for some of those there’s an excuse of needing to get the news out ASAP, but there’s no reason an in depth piece or an online article that’s been up for a few days should be butchered.
Really though writing should be the least important part of a journalists job, digging through stories and finding the truth or understanding the complex strands of the story should be and that often involves going back and editing, restructuring, reediting, reworking and adding to it over and over again.
It gets really hard to see your writing with fresh eyes once you’ve got it so perfectly constructed in your head, it’s super easy to miss awkward mistakes that have crept in - this is why editors were a thing but newspapers rarely bother anymore or the editor is too focused on political and social acceptable to notice grammar or word choice errors
I’ve been building a list called “The Micro or Low Budget Sci-fi” https://letterboxd.com/mattcoady/list/the-micro-or-low-budget-sci-fi/
Basically movies that cost almost nothing to make and use great writing to build up the world. Our minds are really good and fleshing out the rest as long as their given good writing as a foundation. Productions could save a lot of money with good writing. It blows my mind you could sink $200 million dollars into a project and not have an absolutely flawless script.
Hey, thanks for sharing!
It’s completely beyond me why scripts get rushed out the door before they’re at the very least solid. Sure, a production company might make their money just a little bit sooner but they run a massive risk of losing all of their money making a movie that completely bombs.
It’s impossible for every script to be a masterwork, but holy crap it seems like an audience wanting a competent script is too much to ask. It’s not like there’s a shortage of aspiring writers that can take a crack at a script until it’s at least passable.
Ever heard of Time Lapse from 2014? It involves a camera that takes pictures 24 hours into the future.
That is such a good movie.
Well maybe right. What draws a general audience? A flashy trailer of the sun exploding or someone talking about their family issues?
Why not both?
I never said they’re mutually exclusive. There’s tons of big budget explosion movies that have great scripts. Dark Knight, Casino Royale, Matrix, The Bourne movies, Heat. The best movies have legs and continue to sell for years after release, exploding sun only gets you a good opening weekend.
It’s crazy cause if you hear writers in tv talk about it, they’ll get contracted like a month or two before they have to finish the first batch of scripts. Writing in Hollywood is as much about learning quick writing shortcuts/tropes to move the plot along to get the product out on time as it is being able to develop a plot.
That’s what sticks in my craw. If I’m a studio exec who’s going to invest potentially hundreds of millions of dollars it’s beyond stupid to jeopardize that to get a payout a little faster.
It just seems stupid to put a time crunch on the most important phase of your investment. I don’t see how taking a greater risk of a project being a flop is worth getting the script a few weeks sooner.
I think a lot is because Hollywood became a Henry Ford production process, one part feeds into the next so they’d have empty studios and workers idle if the next idea isn’t ready to go.
Also it literally doesn’t matter, this marvel film has literally the same plot and jokes as the last one? That’s ok we cooked up a drama where we pretend villainous gamers are against it to get people talking about it, we seeded stories into the media we own about it and forced our celebrities to pretend to love it…
They can make the absolute worst shit and as long as they link it to something vaguely related to some culturally significant thing it’ll be huge, even more so if they can link it to a social divide or political division they have no intention of ever actually caring about.
Childhood toy + social flag = money, it works for comic books ‘i had a the flash t-shirt when I was six I have to like these new films’, it worked with Barbie ‘this proconsumerism corporate tat which was heavily criticised by notable feminists has made a film attempting to shoehorn social progress back into a corporate friendly sales generating mush, they say the baddies don’t like it so I have to go see it!’, and it works with endless sequels ‘this franchise now makes zero sense, has the most painfully predictable plots, has gone so far off the rails jumping sharks that literally nothing makes sense and there are zero stakes to any of it which totally ruins everything that made the first one good…’ and you can’t even tell what I’m talking about with that because it’s everything (i was thinking john wick btw)
Make something actually good and no one will care unless the media circus tells them to, that’s how you get s flop. Make something even slightly changing intellectually or from a certain point of view and instantly most your audience is gone or angry, but be like Barbie and put sparkle on social concepts 90% of the world has agreed on for decades while actively avoiding anything more contentious then you don’t need to worry about alienating the audience or going over their heads.
And for some reason people just won’t stop watching it, they won’t watch indy stuff made with passion or small budget things no matter how good they are because they HAVE to see the big releases, like you’ll lose touch with society and be unable to make friends if you don’t force yourself to endure at least a dozen painfully dull industry movies a year.
My pet theory is that this is because of the assembly line way of thinking of studios. Script -> Casting -> Shooting -> VFX -> Editing -> Profit.
It takes time to develop a good idea and script. If you force a writer to adhere to a strict schedule you’ll get a rush job and bad writing. As long as money keeps flowing in, their assembly line theory is validated.
i wouldn’t be surprised if a big part of it is that the higher ups don’t know much about what good writing actually is, or they’re too focused on ratings and they don’t dare deviate from “what works”. it also wouldn’t surprise me if writers weren’t allowed to make “major” changes to scripts after seeing how the writing looks after scenes have been recorded, because it might be “too expensive to change”.
Because writing doesn’t really work like that, the reason we get bland writing is because they keep adding extra chefs.
Thay get these professional writers that learned formula in school and apply it to sections of someone else’s work and wonder why the result is an ugly tapestry of formulaic rubbish.
All the things people love are written by people with passion for the project, then they get a budget increase and professional industry writers get brought in and it’s all shitty generic snappy dialog and dramatic posing that feels uncomfortable and awkward in the scene.
Yeah but taking advantage of that would require executive ghouls to be capable of appreciating art or even be willing to read drafts.
Maybe it’s studio meddling or director indecision? Lots of changes at the last minute make the writers fly by the seat of their pants?
I’m sure there’s plenty of those making a mess of things, but taking time in the writing process, getting input from relevant parties, and doing as much preparation as possible cuts out a myriad of problems.
Studio got a product placement deal? Great, let’s integrate that into the story long before filming even begins so it feels natural.
Director doesn’t know if he wants plot point A to happen or not? Good thing he heard about that while the movie was just a script instead of having him decide with dozens of people on set.
I’m sure there are uncontrollable, unforeseeable problems that will come up in any production. There is no reason to exacerbate those by being willfully unprepared. An ounce of prevention is worth a pound of cure but it seems like film studios reliably hamper the “prevention” part to shave a few weeks off on prep time and end up losing more time or huge piles of money because of it.
That’s why the Lord of the Rings movies are so good. They had almost as much time in pre-production as they did during filming.