You’ve mentioned a couple of times doing an un-credited re-write for Jewel of the Nile. I’m curious about that, mainly as it pertains to the ability to add it to your resume. Assuming only known writers would be asked to do a re-write, I suspect there’s enough Kevin Bacon-esque connections that it would be easily verified should it come up. But, well, does it come up? Why was it un-credited (your call or theirs)?
Larry Gelbart once stood up at a WGA membership rally just before a strike and said, “At some point everyone in this room will rewrite everyone else in this room.”
He was right.
Rewriting is as much a part of Hollywood as rumors and hookers. It is such a common practice in the feature world that the rare exception is the screenplay that makes it to the screen not having been rewritten by six other writers.
Screen credit is determined by a Credits Manual sanctioned by the Writers Guild. An arbitration is ordered any time a new writer is put on a project, whether the new writer requests it or not. In general this Credits Manual is there to protect the original writer. In the old days directors would routinely futz with scripts and slap their names on them. No more unless they deserve it.
Many A-List writers make a handsome living doing uncredited rewrites and polishes. What they sacrifice in credit they make up for in compensation. Some of these scribes command $100,000 a week to provide their genius. (I’ll pause a moment while you pick yourself up off the floor.)
When a studio brings a new writer on a project they are contractually obligated to let the other writers know. Of course they don’t but they’re supposed to.
There are no gag orders on rewriters. The Hollywood trade publications often print who is now rewriting what. There are websites that list project status reports complete with the latest writers assigned to scripts.
So I’m not breaking any confidentiality agreement by revealing that my partner and I did a rewrite on JEWEL OF THE NILE. A paper trail does exist. Plus, I have our draft (in English and French. Our script had to be translated into French for the Moroccan government to approve before allowing us to shoot in their country.). So if you want proof of our involvement you’re welcome to check with 20th Century Fox, the WGA, or call the King of Morocco.
For a couple of years we did a lot of rewrites. Both MANNEQUINS and several movies that ultimately never got made. We rewrote some big names. One in particular is a prominent comedy writer I truly admire and even though the script needed work and he wasn’t available I still felt weird about it (but not weird enough to turn down the assignment).
And just as Larry Gelbart said, a number of big names rewrote us. Often there’s animosity between the original writer and the new guy brought on to fuck up your brilliant screenplay. But not always. David Isaacs and I had an original script rewritten by Cameron Crowe and we became friends with him. (It also helped that we thought he improved our script considerably.)
In television it’s the showrunner and staff that rewrite practically every script. There’s the old adage – “Writing is Rewriting.” What it should really be is – “Writing is Rewriting Someone Else”.
At least no one else rewrites this blog. Although, if that prominent comedy writer did it would be a whole lot funnier, damn him.
This is a re-post from four years ago.