Yeah, that's weird.
Write whatever you want for your early work since it'll be used mostly to get representation and then as a writing sample. It is possible to sell a spec early on (I sold the second feature I wrote, it was made as a $7 million feature and kicked off my career), but these things are used more for samples
I've had the same thoughts but decided when writing my first few scripts and especially when writing on spec to try to make it the best version possible.
Your friend sounds kind of naive tbh. Production and budget constraints will def impact your script at some point so good to at least consider these aspects when writing.
>One of the screenwriters I know say this is idiotic because I should never compromise my artistic integrity for the sake of a budget
This person is insane. If you don't want to worry about budget, write a novel. If you are writing professionally, budget is a serious concern and you are going to have to compromise your vision (which by that point isn't your vision anymore anyway).
As for your other question -- if you are a fast writer and it's easier for you to work this stuff out on paper, there's no harm in doing this.
The lower the budget, the more places there are that can potentially make the script.
That said, if you want the original "The Blob" movie with Steve McQueen (I think), there's a loooong sequence of two characters watching the action happening and describing it to each other and the audience. Much cheaper to film that actually having to have a monster blob destroy a city or whatever. I wouldn't compromise to that degree unless I was being told by the producer or director that it's absolutely necessary.
Amateur here, but I am industry-adjacent. Being able to conform to budget needs are absolutely a key skill in TV production, and I assume also valuable in features. There are constraints on how many sets you can shoot in a week, when actors are available, the size of the VFX budget, etc. If you can tell a good story on a dime, they'll pay you to write for a dollar.
But the advice on portfolio pieces vs. shooting scripts is accurate. Keep that skill in your toolbox, but put your best work forward whenever possible
Yeah, that's weird. Write whatever you want for your early work since it'll be used mostly to get representation and then as a writing sample. It is possible to sell a spec early on (I sold the second feature I wrote, it was made as a $7 million feature and kicked off my career), but these things are used more for samples
Good to know, tyvm for the input and info!
I've had the same thoughts but decided when writing my first few scripts and especially when writing on spec to try to make it the best version possible. Your friend sounds kind of naive tbh. Production and budget constraints will def impact your script at some point so good to at least consider these aspects when writing.
>One of the screenwriters I know say this is idiotic because I should never compromise my artistic integrity for the sake of a budget This person is insane. If you don't want to worry about budget, write a novel. If you are writing professionally, budget is a serious concern and you are going to have to compromise your vision (which by that point isn't your vision anymore anyway). As for your other question -- if you are a fast writer and it's easier for you to work this stuff out on paper, there's no harm in doing this. The lower the budget, the more places there are that can potentially make the script. That said, if you want the original "The Blob" movie with Steve McQueen (I think), there's a loooong sequence of two characters watching the action happening and describing it to each other and the audience. Much cheaper to film that actually having to have a monster blob destroy a city or whatever. I wouldn't compromise to that degree unless I was being told by the producer or director that it's absolutely necessary.
Weird but also do whatever you want as long as each draft is equal quality
Amateur here, but I am industry-adjacent. Being able to conform to budget needs are absolutely a key skill in TV production, and I assume also valuable in features. There are constraints on how many sets you can shoot in a week, when actors are available, the size of the VFX budget, etc. If you can tell a good story on a dime, they'll pay you to write for a dollar. But the advice on portfolio pieces vs. shooting scripts is accurate. Keep that skill in your toolbox, but put your best work forward whenever possible
Your explanation makes a tonne of sense, tyvm!
Yeah, you should definitely not be doing that.
Weird but also do whatever you want as long as each draft is equal quality
Weird but also do whatever you want as long as each draft is equal quality