In January 1991 Jeffrey Katzenberg, then head of Disney, wrote a memo to his executives. It's a well written piece, definitely worth reading - here it is, 28 pages worth. By the way - this memo was apparently Cameron Crowe's inspiration for Jerry Maguire and his mission statement.
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| Katzenberg: "Magic is the key". |
Below just one section of the memo - yep, you guessed, the section on writers. I like what Katzenberg wrote - I like the idea of long-term relationships as opposed to an unhealthy spec hype system. Some of the greatest films ever made were made by writers employed by studios - they got x-dollars per week, an office space and a typewriter on the studio lot and they typed away - one story after the other. Those writers worked their writing muscles in ways writers rarely do today. Not all was gold then, agreed, but it's still worth reflecting on.
Below the part about the writers. "Getting writers who can tell the stories" (for the complete memo go to "Letters of Note" where you'll find the original memo and, scrolling down, a complete transcript - makes it an easier read. Great work - great read!):
"Getting Writers Who Can Tell the Stories
One reason for our quick and early success upon arriving at Disney was that we established a stable of writers under long-term contracts. These were talented individuals whom we could work with and who felt they had a stake in this studio. Just as our marketing division’s success is in part attributable to the fact that the people there are part of the give-and-take of the ongoing creative process here, so, too, did this group of writers that was integrated into our operation function particularly well.
Now the stable is nearly empty. We should fill it again.
I know that many will argue that this just isn’t feasible anymore. Agents won’t let their clients sign long-term contracts because the spec script market is too lucrative.
All this means is it will be tougher. It doesn’t mean it’s impossible.
We need to somehow find the writers and convince them that an association here is in their interests. And this may not be as difficult as it seems. If and when the $3 million dollar scripts turn into box office duds, the speculative bubble will quickly pop and long-term contracts at a stable studio will regain some of their lost luster.
But we shouldn’t wait for this to happen. All the big time writers have one thing in common. They were all once unknown and thrilled just to make a sale. The future big time writers are out there and would be grateful just to be considered by our studio. To find them, we have to search harder, dig deeper… and be there first."
1 comment:
What's amazing (and frightening) about that report is that absolutely nothing has changed. World recession, movie studios spending more and more chasing opening weekend blockbusters, and everything being bet on 'bankable' stars. I'm not sure if the fact that nothing changes is depressing, or strangely comforting.
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