I am from the UK and have written a script which I think would work either side of the Atlantic. Though the theme is generic, some minor details would not seem authentic to an American reader as well as technical differences, such as spelling.

Should I send an amended US version to American agencies and a British one in the UK, or send the original version to both?

--Paul

I don’t think there’s a wrong answer, but here’s what I would recommend if I were in your place.

If it really wouldn’t suffer from setting it in the U.S., then go for it. Keep your UK version for British agencies and filmmakers, and do up a separate-but-equal version for the U.S. (Hint: put a “UK” down by the date on the title page, so you can easily tell which one is which.) While most Hollywood folks are clever enough to realize that a good script is a good script, there’s always a chance that a reader will see “Bristol” and think, nope. Next, if you do set it in America, with American characters, you’re probably better off using American spellings throughout. That way, there’s no weird disconnect when Tyrell starts talking about “gang colours.” And have a native-born American whose opinion you trust do a careful reading through your script, just to make sure there’s no dangling British-isms.

Having said this, a UK writer shouldn’t worry about being too British. Or Scottish. Or whatever. There’s a long history of talented filmmakers crossing the Atlantic to work in Hollywood (and vice-versa). You shouldn’t try to sublimate your natural writing style to match some mythical American standard – which all too often resembles the lowest common denominator. But if you decide to American-ize this script, make sure you do so thoroughly.

If a person wanted to get involved in films ultimately as an assistant director, where he start?
--Gail

Most Assistant Directors come into the job after having been either Second Assistant Directors, 2nd-2nd Assistant Directors, or Production Assistants. As you may know, the job of Assistant Director is the most complicated job on the set and the job which comes with the most responsibilityŠexcept (of course) the director¹s.

If you¹re starting at the bottom of the ladder, I would suggest making an effort to become a Production Assistant working with the Assistant Directors. This is not a Union or Guild governed job. Once you have worked on a few films as a PA, then you might be able to find work on an independent, non-guild, picture to gain experience as an Assistant Director or a Second Assistant Director. Trust me, this is not the kind of position you want to jump into without having very thorough and complete experience. The responsibility is just too heavy.

Once you have a few films under your belt as a Second, you might want to try your luck at the position of First Assistant Director. My advice would be to make sure that your first film as a full fledged First is a contained movie with simple production requirements. Don¹t be foolish and take on a movie that has lots of stunts, tricky makeup, the scheduling of children, or lots of complicated location changes.

There are many ADs who are perfectly content on work on low-budget, non-Union pictures. However if you want to go for the real deal, you¹re going to have to get yourself into the Directors Guild of America. The guild has very specific requirements for entrance and if you¹re very committed to the job of Assistant Director, joining the DGA will provide many protections to help you perform your job efficiently without overtaxing yourself and letting potentially abusive rob you of your sanity.

I just started my career as cameraman and I had some work as DP, but I am having some troubles finding jobs because here producers prefer technicians with strong personality and technical knowledge but almost no artistic [knowledge]. I have both technical and artistic knowledge, but I haven't (and I don't want to pretend) an overwhelming personality.

What are the ideal characteristics for a DP and/or cameraman?

--Cristian

This is rather a good question as there are many brilliant DP's with the kind of shy and retiring nature you speak of, and some of them are not being given the jobs they deserve because of this.

The "ideal" personality for a DP is the one that gets on with the director (not necessarily the producer!). Directors differ enormously in what they are looking for in a DP and a loud, aggressive "love me, love my gear" type macho-man does not always win the day.

If you are doing good work, you'll be noticed and people will employ you -- don't worry about your personality, as that is for others to decide. Overwhelming personalities are best left to actors.

John August's screenwriting credits include Go, Big Fish, Titan A.E. and both Charlie's Angels movies. His current projects include Charlie and the Chocolate Factory, Tarzan, and Corpse Bride. He also maintains a screenwriting-oriented website at johnaugust.com.

Born and raised in Boulder, Colorado, John earned a degree in journalism from Drake University in Iowa, and an MFA in film production from the Peter Stark program at the University of Southern California. He lives in Los Angeles.

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