Helpful Production Experiences for Aspiring Screenwriters

I’ve been thinking about the types of film production experiences I’ve had that have informed my writing. I think a lot of people underestimate how important production experience is to a screenwriter. Whether it’s on a professional feature, a studio show, or an independent or student short, getting experience on set not only gives you insight on how to write scripts that are set-friendly (get rid of those 10-character scenes if you’re trying to sell to a low-budget indie!), but it also exposes you to a million personalities.

Why should you care about personalities, you isolated artists out there? First of all, if you’re writing films that you plan on having other people make you’re going to have to get used to the fact that film is a highly collaborative industry. I remember coming out of my first major student shoot that I directed and realizing it never, never would have existed without the wonderful cast and crew I had backing me up. Secondly, you’re a god damn writer and should be observing everything around you. The high-stress situations on a set allow you to see some of the most interesting people you’ll ever meet at their most chaotic. It’s great character study.

Now my on-set experience has entirely been with student shoots, but some of these kids operate with decent budgets and it allows me to take on bigger roles than I could on a large shoot. Here are some of the roles I have found most helpful for learning to write “shootable” scripts:

• Script Supervisor – A lot of people dismiss script supervision as a no-brainer job you pass off to the “script girl.” First of all, this is an incredible position for either a man or woman who is interested in working creatively in film. Second of all, if you’re doing your job right then you’re constantly on your feet thinking not only about jotting down continuity notes and taking pictures, but also about creatively thinking of solutions to help a director make continuity work. On top of the creative possibilites (I’ve heard of script sup.s coming up with entire shots that the director, DP, and AD missed), it’s a great chance to really get to know a script… in a way you would never understand it from just reading it.
• Assistant Director - You will write differently after the first time you AD a worthwhile shoot. Suddenly your scenes will be in simpler locations with as few characters as possible in any given scene. You will economize your use of complicated set-ups and will completely get rid of any description of fancy moving shots. Why? Because once you’ve had to schedule a shoot, keep it on schedule, deal with creatively frustrated camera ops, delegate errands to half-baked 18-year-old PAs, and taken a yelling from every single member of the crew so that your director doesn’t have to… Well, you appreciate simplicity in a script more.
• Sound Mixer – OK, this is a pretty specialized skill, but let’s face it… 50% of film is sound. There’s something about being in an isolated mixing area, only able to hear the dialogue through headphones and often not being able to see the action at all, that lets you get to know a script in a new way.
• Art Assistant – Sometimes I think the scripts I read aren’t visual enough. Working in the art department allows you to think about the minute visual details of a film, which will serve your own scriptwriting down the line.
• PA – Last, and probably least, is ye old PA position. If you can get a PA gig on a major production, it’s a great way to be a bit like a chameleon on the wall and see how the whole film production process works. (Granted, you’re a chameleon who totes sandbags.)

Of course, any job on a shoot can be helpful if you’re putting your best effort at it. I think that’s what took me the longest to learn: if you treat every job like it’s your dream job, you’ll not earn respect for your dedication and you’ll learn a lot about the world of film.