Hollywood Scripting

Moderators: Elvis, DrVolin, Jeff

Hollywood Scripting

Postby peartreed » Tue May 08, 2012 3:47 pm

In terms of the continuing conversation about CIA, conspiracies and corruption in Hollywood, It might be helpful to review how a movie or t.v. script gets changed.

First, the original screenwriter usually writes a first draft (or adapts a story from a book or play) upon approval of a treatment (or précis outline) by the producer. There are many influences in the early stages, like editors, agents, researchers and proofreaders, or specialists brought in for their expertise on some aspect of the story to verify descriptions and enhance verisimilitude. The writer’s family and friends are often the first to get a kick at the cat before it’s released.

Next, a producer will usually use the draft script to solicit funding and Executive Producers whose primary role is financing and facilitating the production. Once a script is “green lighted” for production a separate production company is formed or assigned, and such a company has its own organizational hierarchy to chip in. For feature films there are often several subcontracted companies participating.

The Director will also have a Cinematographer or D.O.P. and a technical crew for camera, lighting, electrical, grips, props, set-dec, costumes, make-up, hair and transport etc. The performers chosen by casting and the producer/production executives also have contracts that sometimes allow creative “input” or script revision rights. Post production sound, SFX and editing also alter the product.

Such changes also evolve naturally as production proceeds and the exigencies of budget/schedule/weather/location/circumstance alter or edit the shooting script and its sequentially numbered drafts. Most often the script goes through several drafts and revised dailies or “sides” during production.

Once produced and edited to an editor’s cut, the film will then go through a process of legal and industry institutional approvals towards earning a classification and a rating for distribution. Distributors and their hierarchies also influence a product.

Sometimes a disputed film or episode is produced/edited to more than one version.

There is a multiplicity of script changes made by a myriad of people in the process.

Returning to the possibility of military, corporate or governmental interference in a film, that is usually a product of controversial content, research or sponsorship lobbying. Writers, producers, performers and directors strive for authenticity and credibility, even in fiction. To achieve that takes real help and support from real life participants in the actual activity, specialty or expertise being depicted. This also opens the door to input, second-guessing and agenda pursuit by biased parties.

If budget/funding/financing factors are involved, as usual, influence is often directly proportionate to the provider’s input. Films about military require equipment and support. Films about corporate product/services and activity do too. So do shows about intel conspiracy.
Spy movies and shows, like police drama, often evolve out of actual case studies. Expertise is sought, as are researched elements, from real life participants. When you bring a spy out of the cold into a hot property, you bring the danger in too. And covert operatives are extremely cautious about exposure and covering one’s ass. Authorities are dragged in, and they have their continuing agenda of manipulation.

It takes a strong studio executive to stick-handle through the spook hoops and not turn the story into more distortions, propaganda, disinformation or cointelpro pap.

Even Sci-Fi series of a simulated future are subject to projected inside probabilities.

Shows move an audience through emotion, tension, conflict and ultimate resolution, so the more convincing the dramatic depictions the better the box office or market share numbers. Producers are dependent on high quality expertise throughout. They also play and press the existing audience buttons, like sex, romance, violence, combat, patriotism, fears, biases, suspicions, prejudices and their cathartic release. The distinction is that they hire film professionals, the best, to integrate it all well.

Films or cartoons created by and for propagandists are transparently obvious and bad. They are overtly promotional of a one-sided, superficial bias and belief. They disclose their own agenda by ineptitude in pounding home the message’s delivery.

But all the people involved in the entire process of film production are also loaded with their own agenda. Producers probably served their time in uniform. Actors emulate their own heroes from childhood storybooks to fantasy comics and on to characters who led the way on the silver screen, including amazingly evil villains.

And everyone exerts an influence on the final product. No single person controls it, nor does any overriding force or agenda – including imagined power conspiracies.

The single most influential originator of a film story is the writer who conceived it.

That writer turns it over to endless second-guessing edits and editorializing in return for payment and residuals, all in the hope that some semblance survives. It hurts to hear that the credit is usurped by spooks.
User avatar
peartreed
 
Posts: 536
Joined: Sun Aug 24, 2008 5:20 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby Nordic » Tue May 08, 2012 5:01 pm

That is NOT what I read on the internet!
"He who wounds the ecosphere literally wounds God" -- Philip K. Dick
Nordic
 
Posts: 14230
Joined: Fri Nov 10, 2006 3:36 am
Location: California USA
Blog: View Blog (6)

Re: Hollywood Scripting

Postby barracuda » Tue May 08, 2012 5:22 pm

This is blatant manatee-bait and should be summarily dealt with by the admin.

Of course the trick here is that there are all kinds of opportunities within the process you've described, as well as in other areas of the release and distribution of the film, which allow open holes for manipulation to be exploited by the SECRET TEAMS OF KEYWERD THIGHSMACKERS that guide much of the semi-subliminal propaganda effort supported by the U.S. Dept. of Semi-Subliminal Propaganda (USDOSSP). For example:

Let's say that in your innocuous-seeming script you've inserted a scene in which your main character hides from the antagonists behind a row of men's formal wear in a clothing store, sort of like this:

Image

Properly produced and then released into the market at the opportune moment (context/timing), this scene functions as a pictogram reading "I am a dinner jacket", a clear signifier of Iranian president Mahmoud Ahmadinejad (ahm-a-din-a-jodket), shown below flashing the notorious symbol of satanic worship, the so-called "devil horns".

Image

Of course, the USDOSSP keeps various lists of which films containing scenes involving hiding behind formal wear racks are in exactly what stages of production, and so maintains flexibility in their capacity to gently nudge one of them into the public eye at the opportune moment when the effect is most needed. Subtle editing touches, character names, and reinforcing poster graphics then combine to produce the final effect in which you are transformed from a peace-loving childlike innocence into a teeth-gnashing supporter of the neo-con drive to prevent Iran from attaining a nuclear bomb at all costs. Mission accomplished.

So the complicity of the writer, or any number of other participants in the process, is unnecessary to attain the goals required by the dastardly brainwashing psy-operators controlling our minds through movies and film posters.
User avatar
barracuda
 
Posts: 12890
Joined: Thu Sep 06, 2007 5:58 pm
Location: Niles, California
Blog: View Blog (0)

Re: Hollywood Scripting

Postby peartreed » Tue May 08, 2012 7:35 pm

LOL!

Who ever thought RI would be a honeypot to recruit comedy writers?

peartreed
User avatar
peartreed
 
Posts: 536
Joined: Sun Aug 24, 2008 5:20 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby JackRiddler » Tue May 08, 2012 8:00 pm

peartreed:

Of course, what you're talking about is the full conventional process of commercial movie production, and points in the process where different someones with a propaganda agenda might take influence.

The King's Road to doing whatever you like is simply to have the money, isn't it now. If you're an investor (or a cut-out for an investor with an agenda), and if it's OPM or you have so much of your own you don't care about losses (or moderate losses, let's say, or if it's money laundering or a desired tax loss), you can get much more of what you want directly. There are overt examples, like Passion of the Christ, which also managed an independent distribution, or Inchon (Moonies). And there are no doubt covert examples.

There are a hundred roads. The current "Battleship" is the result of Hasbro's insistence on a contract, and the fascism seeped in everywhere given the subject matter and by the processes you describe. (Plus, even today most people think, what fascism? It's just Military vs. Aliens, right? Are you nuts?)

Then there's the Pentagon office. The drive ultimately in most cases is that people want to make this shit in the first place, so they turn to DoD for the gear and have already written the script accordingly, so no "censorship" is necessary.
We meet at the borders of our being, we dream something of each others reality. - Harvey of R.I.

To Justice my maker from on high did incline:
I am by virtue of its might divine,
The highest Wisdom and the first Love.

TopSecret WallSt. Iraq & more
User avatar
JackRiddler
 
Posts: 15983
Joined: Wed Jan 02, 2008 2:59 pm
Location: New York City
Blog: View Blog (0)

Re: Hollywood Scripting

Postby Simulist » Tue May 08, 2012 8:41 pm

peartreed wrote:In terms of the continuing conversation about CIA, conspiracies and corruption in Hollywood, It might be helpful to review how a movie or t.v. script gets changed.

First, the original screenwriter usually writes a first draft (or adapts a story from a book or play) upon approval of a treatment (or précis outline) by the producer. There are many influences in the early stages, like editors, agents, researchers and proofreaders, or specialists brought in for their expertise on some aspect of the story to verify descriptions and enhance verisimilitude. The writer’s family and friends are often the first to get a kick at the cat before it’s released.

Next, a producer will usually use the draft script to solicit funding and Executive Producers whose primary role is financing and facilitating the production. Once a script is “green lighted” for production a separate production company is formed or assigned, and such a company has its own organizational hierarchy to chip in. For feature films there are often several subcontracted companies participating.

The Director will also have a Cinematographer or D.O.P. and a technical crew for camera, lighting, electrical, grips, props, set-dec, costumes, make-up, hair and transport etc. The performers chosen by casting and the producer/production executives also have contracts that sometimes allow creative “input” or script revision rights. Post production sound, SFX and editing also alter the product.

Such changes also evolve naturally as production proceeds and the exigencies of budget/schedule/weather/location/circumstance alter or edit the shooting script and its sequentially numbered drafts. Most often the script goes through several drafts and revised dailies or “sides” during production.

Once produced and edited to an editor’s cut, the film will then go through a process of legal and industry institutional approvals towards earning a classification and a rating for distribution. Distributors and their hierarchies also influence a product.

Sometimes a disputed film or episode is produced/edited to more than one version.

There is a multiplicity of script changes made by a myriad of people in the process.

Returning to the possibility of military, corporate or governmental interference in a film, that is usually a product of controversial content, research or sponsorship lobbying. Writers, producers, performers and directors strive for authenticity and credibility, even in fiction. To achieve that takes real help and support from real life participants in the actual activity, specialty or expertise being depicted. This also opens the door to input, second-guessing and agenda pursuit by biased parties.

If budget/funding/financing factors are involved, as usual, influence is often directly proportionate to the provider’s input. Films about military require equipment and support. Films about corporate product/services and activity do too. So do shows about intel conspiracy.
Spy movies and shows, like police drama, often evolve out of actual case studies. Expertise is sought, as are researched elements, from real life participants. When you bring a spy out of the cold into a hot property, you bring the danger in too. And covert operatives are extremely cautious about exposure and covering one’s ass. Authorities are dragged in, and they have their continuing agenda of manipulation.

It takes a strong studio executive to stick-handle through the spook hoops and not turn the story into more distortions, propaganda, disinformation or cointelpro pap.

Even Sci-Fi series of a simulated future are subject to projected inside probabilities.

Shows move an audience through emotion, tension, conflict and ultimate resolution, so the more convincing the dramatic depictions the better the box office or market share numbers. Producers are dependent on high quality expertise throughout. They also play and press the existing audience buttons, like sex, romance, violence, combat, patriotism, fears, biases, suspicions, prejudices and their cathartic release. The distinction is that they hire film professionals, the best, to integrate it all well.

Films or cartoons created by and for propagandists are transparently obvious and bad. They are overtly promotional of a one-sided, superficial bias and belief. They disclose their own agenda by ineptitude in pounding home the message’s delivery.

But all the people involved in the entire process of film production are also loaded with their own agenda. Producers probably served their time in uniform. Actors emulate their own heroes from childhood storybooks to fantasy comics and on to characters who led the way on the silver screen, including amazingly evil villains.

And everyone exerts an influence on the final product. No single person controls it, nor does any overriding force or agenda – including imagined power conspiracies.

The single most influential originator of a film story is the writer who conceived it.

That writer turns it over to endless second-guessing edits and editorializing in return for payment and residuals, all in the hope that some semblance survives. It hurts to hear that the credit is usurped by spooks.

Very informative and appreciated, Peartreed. Thank you.
"The most strongly enforced of all known taboos is the taboo against knowing who or what you really are behind the mask of your apparently separate, independent, and isolated ego."
    — Alan Watts
User avatar
Simulist
 
Posts: 4713
Joined: Thu Dec 31, 2009 10:13 pm
Location: Here, and now.
Blog: View Blog (0)

Re: Hollywood Scripting

Postby thurnundtaxis » Tue May 08, 2012 9:08 pm

duplicate
Last edited by thurnundtaxis on Tue May 08, 2012 9:09 pm, edited 1 time in total.
User avatar
thurnundtaxis
 
Posts: 537
Joined: Sun Nov 12, 2006 7:46 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby thurnundtaxis » Tue May 08, 2012 9:08 pm

Interestingly enough The Pentagon refused to offer the use of any military aircraft for Marvel and Disney's Avengers film.
SPOILER:
Most likely because of the military's unclear or subordinate role in the film to the extra-governmental S.H.I.E.L.D organization which mobilizes the avenging superheroes to save New York City from a government ordered nuclear strike meant to destroy the city in order to repel an alien attack.

Can't go second guessing Uncle Sam!

http://www.vanityfair.com/online/oscars ... e-pentagon

According to a new report from Wired, the Pentagon considered joining forces with Joss Whedon’s The Avengers—possibly by lending the recently christened blockbuster some of its military aircrafts during the making of the film, as it did for another Marvel hit, Iron Man. Unfortunately for The Avengers, the government could not see where it fit in the S.H.I.E.L.D. chain of campaign. Explained Phil Strub, the Defense Department’s Hollywood liaison, “We couldn’t reconcile the unreality of this international organization and our place in it. To whom did S.H.I.E.L.D. answer? Did we work for S.H.I.E.L.D.? We hit that road block and decided that we couldn’t do anything.”

User avatar
thurnundtaxis
 
Posts: 537
Joined: Sun Nov 12, 2006 7:46 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby peartreed » Tue May 08, 2012 10:08 pm

Jackriddler:


Much like Mel Gibson’s fanatical fanboy film Passion of the Christ reflected his Catholic convictions, and Rev. Sun Myung Moon’s Unification church-funded Inchon! served his cult, both of which you cited, John Travolta’s 2000 epic Battlefield Earth (2000) was a servile Scientologist’s tribute to the founding L. Ron Hubbard’s cult cosmology script along similar lines.

All of those “shows” suffered (as much as their subject matter) from excess violence and bombast in their relentless, pedantic presentation of pure propaganda. They targeted the credulous cultist audience, and overloaded the dialogue with dogma.

The built-in biases of their base belief systems blasted through any entertainment value to the point that even unsophisticated audiences abandoned their blatant pitch. Travolta’s tribute garnered the lowest box office numbers in 1982.

Gibson’s visceral violence of the crucifixion fiction alone hammered out any lingering legacy of love he might have intended, much like his father’s fanaticism stripped his own sensibilities. The Moonies are still being mooned for Inchon!

But your point that money talks is well taken. Any flush fool can fund a film. Thankfully the viewing public can usually discern a fascist’s fanatical flop by the slop it overflows with. And its financiers will not likely poney up for another public bath, unless their funds are as limitless as their fanaticism.
User avatar
peartreed
 
Posts: 536
Joined: Sun Aug 24, 2008 5:20 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby jlaw172364 » Tue May 08, 2012 10:22 pm

I thinks its a matter of propaganda agents cultivating relationships with key individuals, and then leaning on them at appropriate times.

People who comply get rewarded. People who are "difficult to work with" or "not team players" get punished.

Rewards and punishments are measured in work, money, praise, and publicity.

Another element is advancing people that share your worldview, and holding back people that don't.
jlaw172364
 
Posts: 432
Joined: Mon Mar 30, 2009 4:28 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby JackRiddler » Wed May 09, 2012 12:27 am

jlaw172364 wrote:I thinks its a matter of propaganda agents cultivating relationships with key individuals, and then leaning on them at appropriate times.

People who comply get rewarded. People who are "difficult to work with" or "not team players" get punished.

Rewards and punishments are measured in work, money, praise, and publicity.

Another element is advancing people that share your worldview, and holding back people that don't.


The last is how it's mainly done in the news media. They're always talking about their independence from interference by owners and advertisers, when of course it's hardly necessary given that the owners (and the corporate culture they preside over) decided whom to hire in the first place.
We meet at the borders of our being, we dream something of each others reality. - Harvey of R.I.

To Justice my maker from on high did incline:
I am by virtue of its might divine,
The highest Wisdom and the first Love.

TopSecret WallSt. Iraq & more
User avatar
JackRiddler
 
Posts: 15983
Joined: Wed Jan 02, 2008 2:59 pm
Location: New York City
Blog: View Blog (0)

Re: Hollywood Scripting

Postby Hugh Manatee Wins » Wed May 09, 2012 12:39 am

Nordic wrote:That is NOT what I read on the internet!


You just did.
Image

An anonymous username, "peartreed," claims to speak for all of Hollywood, rejects "conspiracy" in favor of "paranoid," and has some UFO stuff to tell you about.

Having actually analyzed many hundreds of movie and television scripts from 1937 to today, I wouldn't spend bandwith on yet another version of professorpan.
To quote a famous script reader - "Fool me once...um...shame on um...um...won't get fooled again."

Image

So how did 'The Avengers' just happen to match the show 'trials' of Gitmo 9/11 patsies?
Since just everybody 'contributes' to scripts, even the caterer, who planned this convenient psyops congruence?
No utility as 9/11 cover-up and mil-intel watchdog motivation? Hmm?

How did the REAL names of whistleblowers from the Waco ATF abomination end up in Ah-nuld Schwarzenegger's movie, 'Eraser?'
That DAMNED pesky caterer did it again!!

That's why I scrutinize the credits for...the caterer. Becawz ya see everybody steers the script...just like stone soup.
Thanks, peartreed, for speaking for ALL of Hollywood history! What a help.
CIA runs mainstream media since WWII:
news rooms, movies/TV, publishing
...
Disney is CIA for kidz!
User avatar
Hugh Manatee Wins
 
Posts: 9869
Joined: Wed Nov 23, 2005 6:51 pm
Location: in context
Blog: View Blog (0)

Re: Hollywood Scripting

Postby peartreed » Wed May 09, 2012 1:29 am

One of the first scripts I wrote was inspired by a close cousin of mine who, barely out of his teens, traveled to Canada as a conscientious objector to the Vietnam war, a distant place he didn’t want to die in for a cause he didn’t support - despite his deep love for his country.

My attempt to tell his story was handwritten with a hurting heart because he eventually returned home with a stricken, guilty conscience and soon became just another of the many fatalities, like so many other promising futures lost to war. I wanted him to be remembered. I wanted my memory of him to be a lasting legacy.

While you were studying all those scripts, “Hugh Manatee”, did you ever stop to consider the humanity behind them, reflected in them, and the power of the stories and lives, the challenges and achievements, the real emotions they represented?

Did you ever consider the unique individuals with original, creative and compelling ideas - as well as the talent and discipline to put them down on paper to share – who then succeeded in finally seeing their stories reflected back to them onscreen, and discovering the audiences who were similarly moved by those life experiences.

Writing can be a painful, difficult process that exposes one’s deepest vulnerabilities.

To have the resulting achievement, the filmed script, dismissed as just another patsy product controlled by a CIA conspiracy that runs all media and culture world-wide is the ultimate ignorant insult.

Did you absorb any of what you have studied? Or did it all serve to fit your preconceived patterns?

Do you comprehend the meaning of the terms pareidolia and apophenia?

I notice you have again edited and added to your above post while I was replying.

You should try script writing too. See if your CIA spooks possess you in the process.
User avatar
peartreed
 
Posts: 536
Joined: Sun Aug 24, 2008 5:20 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby lupercal » Wed May 09, 2012 2:00 am

peartreed when I read your OP I thought you were supporting Hugh by pointing out the many ways a work of art in the age of mechanical reproduction can be meddled with. The more expensive the stew the more cooks, and soon the original novelist, screenwriter, even director is disavowing the collective creature they sold their souls to. And to take the Frankfurt theme a little further, such works are necessarily propagandistic from the get-go, because the whole point of all that artisanal effort is to get people to buy tickets, i.e. to feed the capitalist system that sustains the show. The same goes for Hamlet, Othello, and when you get down to it, any work of art, mechanically reproduced or not. If there's not a message why would it get made? Somebody had to pay Ariosto and Leonardo not to mention all those stonemasons. So propaganda and art are not exactly strangers.
User avatar
lupercal
 
Posts: 1439
Joined: Tue Jun 02, 2009 8:06 pm
Blog: View Blog (0)

Re: Hollywood Scripting

Postby Nordic » Wed May 09, 2012 2:10 am

Huge, once again people who know what they're talking about have proven that you don't know what the FUCK you're talking about. Your fantasies of all-powerful dark lords of disinfo crafting every movie poster and character name are delusions that exist only in your deranged mind.

Like i said the other day, you are the splinter in the ass of RI and if you cared about this place you would shut the fuck up and go start your own blog for your paranoid dreams.

But you won't because you take such great delight in shitting over a wide and all-encompassing swath of the posts here every time you can spare a few moments away from your full time day job of smiting disinfo agents in, you know, the Real World.
"He who wounds the ecosphere literally wounds God" -- Philip K. Dick
Nordic
 
Posts: 14230
Joined: Fri Nov 10, 2006 3:36 am
Location: California USA
Blog: View Blog (6)

Next

Return to General Discussion

Who is online

Users browsing this forum: No registered users and 38 guests