A Modest Blueprint for Creative Emancipation: Breaking the Studio Chains with Scriptwriter Strikes… and Beyond | Script Revolution

A Modest Blueprint for Creative Emancipation: Breaking the Studio Chains with Scriptwriter Strikes… and Beyond

Introduction: 

As the WGA writers strike goes on, we find ourselves hyper-focused on the deal screenwriters are getting at the peak of the industry and prey they negotiate a deal that's fairer for them. However, winding back to the bigger picture, J.E. Clarke reminds us that there's some fundamental issues that need addressing that impact the full spectrum of filmmaking people often ignore - CJ

Ever wonder why mainstream movies are so interchangeable, meaningless and empty these days?

Is it our culture? Well, in part.

Or maybe it’s the writing? Occasionally, that does factor in. 

But there’s a saying when it come to filmmaking: screenwriters are the least powerful people on a movie set. As a result, writers have only nominal control over a film’s direction. In the world of media, competition for paid writing opportunities are fierce. So – even when a writer’s choices are to blame, the question arises: who – and what system structure – put them in that seat?

I’ve been an indie writer for almost fifteen years. So far, I’ve not achieved a “big break”, but I’ve seen more success than some in other ways. Scripts which place in international contests. Produced shorts I’m delighted to show around. Plenty of options which fell through (as options often do.) When that happens, it’s unfortunate but no defeat: true writers don’t craft stories for fortune or fame. “Extras” like a successful feature, getting signed to an agent and offered union paying projects aren’t things we addictive wordsmiths would turn down. But love of the project itself – and the sheer joy of creating it – are what fuels our creative process… every day.

Here in the US, the 2023 Writers Guild of America (WGA) strike is entering its fourth week. Its aims are a classic dramatization (pun intended) of the struggle of labor against capital: writers fighting studios for increased funding, job security, improved pensions and healthcare funds. All admirable goals for which solidarity is a must. But if/when those demands are met – the celebrations which follow should acknowledge a battle’s been won… but not the war.

As history shows so many times, better conditions do not automatically make one any less a (wage) slave. Even if the studios cede to all union demands, control will remain hierarchical and classically capitalist – concentrated at the top.

And let’s take that one theoretical step further. Suppose Hollywood went coop, with worker ownership. Certainly, that would wrest programming decisions from studio heads, giving writers more creative control. But would it solve all the organizational problems responsible for the film industry’s lack of good content? 

One could hope… but no. Because it would leave all independent writers disenfranchised. Scripts – no matter how good they are – are mere blueprints for the final product. Some capital, and time investment by teams of creatives are needed to bring projects to life. Such raw ingredients must be available outside of the formal studio structure – to ensure true diversity and vision thrives.

The concept of the “starving artist” is a well worn trope… one based in cold reality. The first feature with sound premiered less than 100 years ago (1927’s The Jazz Singer). Since then, how many untold stories have languished un-filmed: both from lack of equipment, and due to writers, directors and the rest of any cinematic team being unable to set aside the time to bring such tales to life, no matter how passionately they believed in what it had to say? All that potential lost - due to a capitalist system which requires artists stick only to projects which help put food on the table, and pay the rent. 

In other words: only films which the wealthy find “worthwhile.” Deepening the dilemma, studios are generally risk adverse. Their goal is rarely making a statement about the human condition, or conjuring cinematic classics to stand the test of time. Instead, short term profit looms as a priority… skewing green-lighting decisions to formulas and “pre-existing IP” (sequels, prequels, and reboots – to the end of time.) Contemplate all that carefully, and the reason why so movies now are interchangeable, meaningless and empty starts to gel.

Now: for a moment let’s theorize a more creative-friendly world. One where human needs are free and guaranteed; part of a package of public goods extended universally to all. No frills, just the basics: modest shelter, food, healthcare, utilities and public transportation. In other words, the bottom of Maslow’s famous pyramid. Enough that any worker - creative or otherwise - can walk away from wage slavery if they so choose - and survive. Not only survive, but dedicate oneself to a project they find more valuable than corporate or retail 9 to 5s. There’s a word for that, which gets used a lot throughout the political spectrum: freedom. No, not freedom to insist one’s work is a blockbuster smash (you need happy audiences to pull off that trick!) But freedom to choose as an individual what one’s time and labor is poured into… including the possibility of assembling a film team who wishes to do the same. 

In such a world (if Marvel flavored: "multi-verse"), some capital would be needed: cameras, editing and lighting equipment, etc. But just as public libraries are used to distribute and circulate books, there’s nothing which could prevent film-making equipment from being lent out by appointment, too.

Does such a set up “disincentivize work”? Not at all. It simply levels the playing field between work done for one’s own projects, and that which accumulates currency for other things. Remember those “no-frills” guarantees? For any individual who seeks discretionary goods or a “higher quality” lifestyle, those 9-5 offers may still look good. (In fact, they’re likely to look far better. With economic coercion effectively nullified, employers will be hard pressed to offer more.)

The way economies are structured in societies affect multiple aspects of all our lives . Impacting both what exists now and what could be. If the WGA strike of ‘23 succeeds, the lives of many writers will be enriched. Given the entertainment and happiness such arts provide, they darned well should be. 

But releasing indie media from its studio shackles is a vital goal, too. We can’t know what gems are waiting in the wings, or any number of studio “slush piles” – until we free artists to choose for themselves, and bring their cinematic gems to life!

About The Author

J.E. Clarke's picture
Real name: 

Known for her unique characters and plots, J.E. Clarke has optioned her feature length horror, "Containment" with Primestar Film Group (director Mike Elliott of Scorpion King 4 attached), her SF feature "Stream" with Purryburry Productions, John Noble of "Fringe" and "Lord of the Rings" attached.  Her fantasy/SF "Evergreen" (cowritten for Adam Zeulhke of Zenoscope Productions), is currently in preproduction, along with Entanglement...Read more

Tags:

Comments

Robert Bruinewoud's picture

from your lips to Shub-Niggurath's ears!

i've often wondered, in my idle moments, if there is a way for The Creators (writers, directors, actors, designers, effects artists, composers etc) to be able to create what they want, *within* the current shit show that is late capitalism – given that something like a UBI or whatever, is still a long way away from happening

unfortunately, my ideas don't go much further than setting up a religion for Creators to gain tax-free status and to be able to declare all income as charitable donations ... so i obviously don't have the answer

John Hunter's picture

Too much product, too few buyers.

sendnudes