There’s a scene in Starz’s forthcoming documentary series The Chair—which debuts September 6, and which I previewed here—where director Shane Dawson and his producing partner Lauren Schnipper are discussing the rewriting of the script with their producer-at-large, Josh Shader, one of the only people in touch with both of the two productions being made from the same script by Dan Schoffer. It’s as tense a confrontation as you see in the first two episodes of the series, as Schnipper works to break down the writing credits of the still in-progress script that was heavily rewritten and noted by Dawson before being shipped back to Schoffer to take a final pass. Without saying it directly, her question is predicated on the likely results of a WGA arbitration hearing for the film, and Shader’s answer is—paraphrasing—that because they gave the option back to Schoffer to write the final version of the script, Dawson’s contributions will just be considered notes that happen when a director gets involved with a project, with Schoffer therefore retaining final, sole credit on the film.
It’s a moment of some tension. Schoffer gives a talking head discussing how Dawson’s claim to credit is an overreach, but as relative first-timers in the context of film production Schnipper and Dawson are mainly just looking for clarification on what to expect moving forward, which seems reasonable. Credit is complicated, as Schnipper notes when she contrasts Dawson’s process (rewriting/notes and then sending the script back to the writer) and fellow filmmaker Anna Martemucci’s greater control over the script to her film. Whereas Dawson effectively rehired Schoffer to rewrite his own script, Martemucci took the job herself, with the documentary following her completion of the script heading into production. And so this foreshadows what may appear as part of the documentary, which is a likely arbitration hearing for her film, the result of which will determine the writing credits for Hollidaysburg when it debuts in theaters and on Starz this fall.
It will be a rare case where we’ll potentially have a lot of very clear information about the arguments made before an arbitration hearing, beyond simply knowing the result (A “Story by” credit for the original writer, a shared writing credit, etc.). In most cases, there isn’t a documentary film crew following every stage of the production, and there aren’t two concurrent projects that let you draw a direct comparison between the two. There’s just an end result and bits of pieces of production history, as is the case with this weekend’s Guardians of the Galaxy (which I “reviewed” on Letterboxd if you’re looking for more thoughts on the film). The film’s script is credited to James Gunn and Nicole Perlman, although the two never worked together on the film. In a lengthy—and fascinating—Buzzfeed profile on Perlman, as well as in numerous Q&As and features she’s done in the past week, it’s revealed she worked as part of the Marvel Writing Program, an incubator in which writers were brought in to help develop Marvel properties into potential franchises. Over a two-year period, she worked on adapting the Guardians of the Galaxy series into a workable film franchise, including choosing the roster, plotting out the story, and then completing further writing work during a six-month freelance period once it was clear Marvel was serious about that project.
Cultural Learnings 