Let's take a look at getting "notes". You know the ones.
Notes. Feedback. Critiques.
Whether you are a writer or not - we have all gotten the note from a higher up. Or a peer. Something is not working right, and work cannot move forward.
This is all part of the human existence.
And feedback is how we grow to become better people and produce better work.
But depending on who is giving the feedback and how it is given, frustration and miscommunication can often arise.
Even if you had the help of the universal translator.
In screenwriting, writers often receive feedback from a plethora of producers, actors, studio executives. All of these people have vested interest in making a script the best that it can be.
(Or at least most of those people...)
((OK fine... your mileage may vary.))
The point is that when writing a script, there can be many fingers in the pie.
And with so many cooks in the kitchen, there are a lot of notes being given to change the course of a script.
And historically, some of those notes have turned into cinema gold, like adding in hints towards Spock's resurrection in STAR TREK II: THE WRATH OF KHAN:
At the time, when filming STAR TREK II: THE WRATH OF KHAN, Spock's death was finite with no voiceover or torpedo funeral. This caused test audiences to cry and made the ending feel super depressing. The added words and hints to a possible resurrection made the ending feel hopeful, and become a poingant ending to what is considered one of the franchise's best films.
On the other hand, sometimes executive notes can lead to a film that stalls the feature franchise. Quotes Simon Pegg regarding writing STAR TREK BEYOND:
“They had a script for Star Trek that wasn’t really working for them. I think the studio was worried that it might have been a little bit too Star Trek-y,” he said of the original draft.
Source: https://www.theguardian.com/culture/2015/may/19/simon-pegg-criticises-dumbing-down-of-cinema
But because notes can come from a multitude of different sources and experiences, often the intent or message that the note is conveying is not coming clearly across.
Communication is not easy.
Hell, even in the 32nd century, we are still figuring out how to tell someone that something is wrong with their work.
And don't get me wrong, there are plenty of straightforward and fixable notes in Star Trek scripts:
"More fighting action in this scene"
“Find a different way for Picard to say this.”
“Worf should get his butt kicked by the villain here again. So we can tell this bad guy is REALLY strong.”
But there are times when a note does not seem actionable.
Michael Piller wrote in his book, FADE IN: THE MAKING OF STAR TREK INSURRECTION, A TEXTBOOK ON SCREENWRITING FROM WITHIN THE STAR TREK UNIVERSE, about a time that he received a note that seemed impossible.
Michael was writing on Season 3 of STAR TREK: THE NEXT GENERATION:
"[...] I bought a spec script that had been sent in from an amateur writer named Ron Moore who was about to enlist in the U.S. Navy. It was a rough teleplay called “The Bonding” and would require a lot of reworking but I liked the idea. A female Starfleet officer is killed in an accident and her child, overcome with grief, bonds with a holographic recreation of his mother rather than accept her death. (Piller, 8)
But the Great Bird of the Galaxy Gene Roddenberry, show creator and notorious stickler over his vision of the future, did what he did best - he put Michael in the Roddenberry box.
I sent a short description of the story to Rick and Gene. Minutes later, I was called to an urgent meeting in Geneʼs office. “This doesnʼt work” he said. “In the Twenty-Fourth Century, no one grieves. Death is accepted as part of life.” (Piller, 8)
Now, we covered the Roddenberry box in a previous post, but suffice it to say - the story didn't fit Gene's vision of the future - a humanity past its emotional turmoil and failings.
For a writer trying to explore emotional conflict, not being able to do so is a big story altering note. It almost seems like Michael would have to rewrite the story completely to something unrecognizable.
Writers, screenwriting is a push and pull between writer and audience. There is not one thing you will be able to write that will please everyone.
In fact, there are a lot of times you will piss off many audience members.
So what do you do? Rewrite? Give up?
Actually, Michael, in his book, teaches us there is another route: there is often a note behind the note. Something you can change that can appease both a personal vision and a creative note from a producer.
Gene's note was that the story didn't work because no one grieves in the 24th century.
Michael realized that Gene wanted there to be a way for Star Trek's more evolved society while still selling a story of human growth.
That’s part of the magic which made Star Trek work as a franchise for then 20+ (Now 50+) years.
Here's how he repitched:
"When the boyʼs mother dies, he doesnʼt grieve. He acts like heʼs been taught to act -- to accept death as a part of life. He buries whatever pain he may be feeling under this Twenty-Fourth Century layer of advanced civilization.
The alien race responsible for the accidental death of his mother tries to correct their error by providing a replacement version of her. The boy wants to believe his mother isnʼt dead, but our Captain knows she isnʼt real and must convince the boy to reject the illusion. In order to do so, the boy must cut through everything heʼs been taught about death and get to his true emotions. He must learn to grieve.” (Piller, 9)
Michael was able to answer Gene’s note, and still stay true to the story that he wanted to originally tell.
Writers, fans, sometimes you will have to look to the note behind the note.
But if it frustrates you, take a second to think and regroup.
What is the feedback you were given really trying to tell you?
What need are you not fulfilling that you can address without starting over?
Taking that time can actually give you a chance to find the right fix that will keep you on your path and perhaps even improve your journey from where it began.
But mostly, stay true to yourselves. Because there are some notes that cause absolute travesties:
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FANS! We will be at Creation Entertainment's STLV: TREK TO VEGAS convention next week August 1-4!
Sandra Piller will also be doing a panel on remembering Michael Piller and getting this amazing book published!! It will be at the Lounge Stage on Saturday 8/3 from 10:00AM-10:45AM.
Come and look for us in the vendor's room and an exclusive opportunity to pick up a copy in person!! We would love to say hi!!
See you... out there!
LLAP!
- Braxton
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