I have a Musical/Comedy film in the works - at the outline and beats sheet phase - at what point do I bring a musical lyricist OR another screenwriter? I know the characters, their storylines, what kind of music they go for but I can't write songs or what would be the right amount of dialogue vs singing.
Anyone having experience working on this genre? Any recommendations on co-writing?
As a musical it would be all original score and lyrics, wouldn't be sourcing material already made.
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I would definitely hook up with a lyricist/songwriter. There are many really great songwriters/composers/lyricists on Stage32. I'd seek one or more out, and try and make a deal that makes everyone happy. And having those songs ahead of time might even help me write a better story, too.
Best fortunes to you in your creative endeavors, Francisco!
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One of my action lines "shows" two people in a truck singing a country song along with the radio. I thought the producer adds the music and sound effects on the production end.
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Hi Francisco, I have written a musical called JIMMY AND THE STAR ANGEL. I wrote the script first, without thinking about musical numbers. I got the story to where I wanted it (at that time), then turned it over to my composer friend. After he read it, we found the places where the musical numbers would be best situated, and then he would write the song. On a couple of songs, he would actually incorporate some of my dialog, and most of the titles came from the dialog as well. In the end, we had about 8 musical numbers and the songs drive the story forward (they don't "stop and sing") and they become part of the story. Everyone writes musicals differently - this is the way that worked best for us. My script is posted here on stage 32, and we also recorded all the songs and have a link on the script to a google drive page where they can be listened to. Hope this helps - good luck!!
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Pamela Bolinder -- you are correct. But that's not a Musical. It's just a song in a movie.
Francisco Casals - I witnessed the same process Jerry Robbins notes.
My daughter worked on Spank! The Fifty Shades Parody musical from early development through the first tour. I watched the process.
They wrote the play already knowing where the songs would go but they rehearsed with no songs, and once they got it down as a play, they added and modified and rewrote the songs until they had it right.
Thank you guys for your feedback! I think that having the lyricist onboard after the screenplay is made would not be the same creatively, in terms of working on a script jointly as opposed to have someone on board to work on a story already done, I might be wrong though. Specially when the song sometimes lead the action/plot, not to take away from scriptwriter's vision but perhaps to see things we oversaw by having tunnel vision in the writing process.
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Francisco,
It's a nice little dance...going between spoken dialogue and lyrical dialogue in a musical. If you haven't already seen this article, it might add some additional insights.
http://www.midpointblog.com/themidpoint/2016/6/27/the-narrative-function...
Best fortunes to you in your creative endeavors, Francisco!
you want a new?
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Francisco, my composer was in on the process from the start, but the songs were not put in until I had a strong draft. I think to write the songs and the script at the same time is only going to cause you more issues down the road. As it is, we ended up pull two songs, and replacing them with two new ones as the draft changed once again. But - everyone has their own method. Mine worked for me.
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On this ... "Specially when the song sometimes lead the action/plot, not to take away from scriptwriter's vision but perhaps to see things we oversaw by having tunnel vision in the writing process." Yes, the song should lead the plot and action. When we added a song to a scene, my dialog was cut. I had no issues with it, since I knew it was a musical to start with - but the songs took what my dialog said, and progressed along the same line lyrically... once in a while a lyric would use one of my lines, most time not, but the mood and the intent of the song replaced the dialog I had written. Happily, I don't have tunnel vision; it was a collaboration, and we were on the same page - to write a good musical. If you work with a composer, discuss the project, the style of music you envision, and make sure he's good with suggested changed and you need to be the same.
Jerry,
Those are some great insights. Thanks for the share.
It's also great knowing how many great musicals - new and re-imagined - are in development and coming out over the next couple years. West Side Story, Joseph, Wicked, Cats, Tick, Tick, Boom!, Oliver, Little Shop of Horrors, In the Heights, Come From Away, etc. That's pretty impressive.
I know how some posters are "down on remakes", but I believe that every generation deserves its own version of a previously-made significant film/play. I love musicals, and look forward to seeing all those great ones on the big screen over the next couple years. I remember reading last year that Spielberg's team auditioned over 20,000 people for West Side Story.
Best fortunes to you in your creative endeavors, Jerry!
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I didn't know they were remaking Oliver! I love the original. I played Fagin in 5 different productions over the past 39 years, lol. I think re-makes work with new audiences who would never watch a 40 or 50 year old movie; and the original versions will always keep their loyal followers. A classic will remain a classic, no matter what. Check out my JIMMY AND THE STAR ANGEL - you can hear the musical numbers via a link on the script; they're fully orchestrated; you might like them if you like musicals! :)
Wait, they're redoing West Side Story again, a revival was out not more than 10 years again and Wicked is still running... I do agree that new generations ought to experiment a fresh look at great musicals but not musicals that have been running already not even few years ago. Remakes are only significant when they haven't been seen in decades (plural) that the original material is vastly different from the current time that is worth an adaptation. I'm behind an Auntie Mame revival!
The WSS revival was on Broadway, this is the movie they are re-making.
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The question I have for Spielberg about remaking “West Side Story” is why. The original is electric and flawless. A cultural touchstone. While anything is possible, it’s unlikely to be recaptured.
I think of the all the remakes that I was wishing they never made (True Grit, Fame, Far From The Madding Crowd, Ben-Hur, Halloween, Poltergeist, PSYCHO, The Karate Kid, The Time Machine, Casablanca - tv series), as the years go by, most of these are forgotten and it's the originals that continue to come to mind when they are mentioned.