I have heard a lot of good things about artist retreats, but I’m not sure if it would really be up my alley. Definitely something to check out, though.

Another option is to find an artist retreat. A few days in nature and quiet with others seeking solace can do wonders for the creative soul. You know, if you’re into that sort of thing.

Anyway, keep posted and keep up the good stuff with your blog.

Tris.

In my case, the extent to which I “throw out” the script is very limited, and I’m only that liberal with actors whose trust I already have from past projects. I definitely understand how that can sometimes seem flaky, though, and that’s just another thing I’m going to have to find a balance for as I grow as a filmmaker.

Anyway, best of luck in the future.

Tris

You should separate the two; but when you’re a director it absolutely *does* matter what the writer was trying to write, whoever the writer is!

The film director needs to be a writer in his or her own right. And, as is normal, do a “director’s pass” on the script before it reaches production. Then, ideally, if a strong script has been written, most lines will remain intact even with excellent improv actors. Because the work has been done.

Some scripts *are* meant to be ‘improved’ and sometimes that works; but I think it only works with a certain genre or tone. It doesn’t work with every story.

I absolutely agree that you, as a writer, should write the script as if someone you don’t know is going to direct it – to wit, write like a writer; but if you throw out the script you’ve written when you begin the directing process, I would expect that your actors won’t trust you as a writer. It shows you don’t know why you’ve written the lines you’ve written. I mean, by all means, be open to a better suggestion here or there, but trust your work as a writer! If you ever want to direct other people’s work, you’d best learn this now. Otherwise, no writer will ever want you attached to their property.

For what it’s worth, I consider myself both.