Каталог статей из сборников научных конференций и научных журналов- Producers and Screenwriters. Selecting the Script

N. Obreshkova, Ph.D., assistant professor,

SWU „N. Rilski“,

Blagoevgrad, Bulgaria

Тhe producer is a person who produces or creates some kind of product that can be sold to a lesser extent than a product created by another manufacturer. Therefore, films – products of productive work – are commodities with corresponding cost and price.

The contemporary producer brings together many professions. He must have both creative skills and entrepreneurial skills and knowledge in the field of film production (directing, cinematography, and drama), the media, finance, accounting, management, marketing, advertising, etc.

He does not only understand film production, but he also has a wonderful orientation in the actors' play, in the capabilities of the directors, in the power of the literary source, and follows every film festival and strives to attract every new film director. At the same time, he is engaged in advertising his future works, exploring the opportunities and needs of the film market and maintaining tremendous relationships with the financial community [1, p. 2].

The film producer's activities include very important and decisive features for the quality of the final product. On the one hand, he is a seeker of new ideas, scenarios and discoverer of actors. The producer plays a key role in choosing a script, a director, a cinematographer, a screenwriter, appropriate music material, photos, and more. He assesses and defines the creative approach, style and work in the particular film project. It is precisely the need to carry out these functions that results in the creative nature of the work of the film producer.

On the other hand, high-risk activity is at the heart of the production, which in most cases occurs in extreme conditions [2, p. 48].

One of the main tasks of the film producer is to select the script.
The film product is a unique combination of creative and technological results that are incorporated into the material carrier of the film. Each of these results has its own specificity. The film's script is extremely important. The script is a creative result of the playwright. The scriptwriters have different possibilities - to adapt the already existing literary work to the cinema needs, to write an original script, to create a script for order. Darsie Bowden said the script is a literary work that is valued by two parties. On the one hand, as a literary work, and on the other hand as the potential to become a good film [3, p. 19].

Other writers say the script is a form of literary work. [4, p. 24]

The good script largely predetermines the future of the film that will be filmed on it. From the script everything starts in a movie. It is considered that a good scenario is a prerequisite for creating a featured movie, but what is the good scenario? Syd Field says that in just ten minutes from the start of the movie, viewers can consciously or unknowingly find out whether they like or dislike the movie. Therefore, the first ten pages of the script are the most important [5, p. 8].

It is for this reason that the screenwriters need to be aware not only of the features and requirements of the drama, but also of the attitude of the viewers towards cinema.

The action, or story line, occurs onstage, under the proscenium arch, and the audience becomes the fourth wall, eavesdropping on the lives of the characters, what they think and feel and say [5, p. 7].

The audience watches movies to derive a certain utility, which can be recreation, aesthetic delight, and spiritual enrichment. The viewing industry in the film industry looks for the social effect associated with the emotional, physical, moral, and intellectual states of man. Writers need to be aware that the viewer is watching the film not because of watching it, but because of the expectation of values or solving problems that can be seen in the movie. The choice of the viewer is guided not by the film as a product but as a value he hopes to get. This value is determined by the viewers watching the movie to experience certain emotional states, feelings. To meet certain needs or perform certain functions in front of the viewer, there are usually choices among different films.

Watching a movie in the last quarter of a century may be auto-therapy for millions – self-defense act, intrusion of sensory – which creates the insensitivity syndrome to reality. The public – a society today is becoming more and more monolithic and increasingly trite in its reflection of survival as a side observer. The cinema has brought her to feel, albeit deceptively, on an ever-protected area – on the other side of the screen [6, p. 11].

Studying the audience allows screenwriters to determine the direction in which the scenario develops. In this way, they can anticipate and expect viewers' experiences [3, p. 13].

When we decide on writing and selecting a script, we are talking about
both – creative and business, from film producers. The basis for the choice of script is not only the creative outcome of the screenwriter but also the striving for profit, production costs, copyright, audience requirements and interests. [7, p. 27]

When selecting a script, producers need to carefully consider the direction and direction of the script development, as well as the opportunities through the script to provocation desires and preferences in the audience.

In the work of Film Producers there are a number of risks that need to be overcome. One of these risks is to select the script. The biggest risk for the producer is to experience disapproval or lack of interest in the film.

Bibliography

1. Halatchev, L., Real Judge, 21st century newspaper, issue.20, 1991 г.

2. Mechkov, B., The Producer and the Challenges of the New Audiovisual Space, Sofia, 2002

3. Bowden, D., Writing for Film: The Basics of Screenwriting, First published by Lawrence Erlbaum Associates, Inc., Publishers Publishers Routledge, Taylor & Francis Group, 2013

4. Price, Steven, The Screenplay - Authorship, Theory and Criticism, Hampshire: Palgrave Macmillan, 2010

5. Field, S., Screenplay: The Foundations of Screenwriting A step-by-step guide from concept to finished script, 2014, http: //www.kimhartman.se/wp-content/uploads/2014/12 /Summary-of-screenplay-by-syd-field.pdf

6. Dimitrova, M., Metamorphoses in the Communication: Author - Screen - Spectator, Institute of Art Studies, Sofia, 2006

7. Obreshkova, N., Creative results in cinema - a prerequisite for the development of the film producer, Blagoevgrad, 2012