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Episode 15 – Giving/Receiving Feedback

This week we talk about giving and receiving feedback. But first, Alrik talks about his experience working with an editor on the web series.

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Show Notes / Links

Timothy talks about feeling less and less qualified to write and edit as he works with more experienced people.

The myth of the auteur and how director’s don’t need to be good at everything.

Timothy evaluates the commercial project he’s on right now.

What are some of the different forms feedback takes?

Alrik talks about his tough love approach. Timothy talks about giving solutions to problems.

What kind of feedback isn’t helpful?

Alrk talks about getting feedback from Timothy on his Brother title treatment and his screenplay “The Alternate”

Timothy talks about getting feedback from Alrik on his screenplay “The Spirit Machine”

The difference between giving feedback on movies vs screenplay.

What about feedback on finished films?

The truth: feedback never stops.

Thanks for listening

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Published inFilmmaking
  • Kellerman

    Another fantastic episode, gentlemen! I really enjoyed the fact that you two had polar opposite views on this. Personally I LOVE feedback. But the skill isn’t in giving feedback (although there are varying degrees of “good” feedback) it’s in receiving feedback. Specifically as a writer getting notes on a script, being able to take feedback is incredibly important. I don’t just mean you have to keep an open mind and separate your feelings yada yada, I mean it’s important to understand that everyone has different sensibilities. What one guy absolutely HATES, someone else might think is pure gold. For example, I cut a joke out of my short 3 Guys, A Girl, And A Demon – just one one that didn’t further the story and wasn’t very funny in my opinion – but when the crew screened it, multiple people told me I had cut their FAVORITE joke! Also, people’s tastes change! If someone reads your rom-com while they’re going through a breakup… they’re likely not to “get it” the same way they would if they were happily married. What I learned from writing at Paramount is that you should consider every note that’s given… but not feel like you have to implement it. The specifics of the notes are usually not important — what’s important is that you go back and look at the scene that note came from. Is there any way to strengthen what you didn’t get across? Or maybe try a different version of the same scene? Unless they’re contracting/paying you to bring their vision to life, the note is not the note. The note just tells you where to look to make things stronger.

    • Ahhh, I like this. “This is not the note you are looking for.” It’s a bit of magic, isn’t it?

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