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phoebe waller bridge has a single credit of interest for writing, which is "no time to die", where she is one of 4 writers and doesn't have a story credit unlik

phoebe waller bridge has a single credit of interest for writing, which is "no time to die", where she is one of 4 writers and doesn't have a story credit unlike the other three writers. The other writers include Neil Purvis and Robert Wade (who both have 20 years of bond film writing credits each). She won awards for Killing Eve which is a show that is "mid" in every way. Sometimes people get large paydays for reasons other than talented writing. If Phoebe Waller-Bridge is getting large paydays for writing its not because of her comprehensive work history and achievements.

gamblor956 3y ago
phoebe waller bridge has a single credit of interest for writing This says more about your tastes than your understanding of Hollywood. Ms. Waller-Bridge wrote 2 critically acclaimed TV shows which were hits for their respective distributors: Fleabag (an Amazon Video launch series), and Killing Eve (BBC). She also wrote several smaller series for the BBC, and co-wrote No Time to Die, and provided uncredited rewrites for Solo, Indiana Jones 5, and is currently working on another TV show for Amazon. For her work on both Fleabag and Killing Eve, she was nominated for outstanding writing by her peers (and won for Killing Eve). Taking into account the number of episodes she wrote for both of these series, she actually has more writing credits than her 3 credited NTTD co-writers. doesn't have a story credit unlike the other three writers A story credit is given to a writer that participated in writing the treatment for the film (i.e., the outline), in situations where a treatment is drafted before the script itself is written. A story credit is a lesser credit in Hollywood. Where there is overlap between the story by and screenplay by credits, it means that the original writers' first draft(s) weren't filmable and another writer had to be brought into salvage the script. Some writers will re-write enough things to get sole credit for the final script; others, like PWB, will make just the changes necessary to get it across the finish while still letting the original screenwriters get credited for their contributions.
- LegitShady 3y ago
  >2 critically acclaimed TV shows I tried to watch them. My opinion is that they were critically acclaimed because the subject matter was popular or outrageous not necessarily because they were good. There aren't any sympathetic characters in fleabag - its a tale of a mentally unstable desperate neurotic woman as she goes from revolting situation to revolting situation through bad decisions she's mostly at fault for. It isn't funny. If you giggle when unlikable people talk about anal sex this may be for you. Killing eve was a tv show that embodies "mid" in every way, except its about lesbian/bisexual bait so it wins awards. >Solo, Indiana Jones 5, Solo was a bad movie and the first star wars film to actually lose money, and indiana jones 5 hasn't been released yet so I'm withholding judgement. >Taking into account the number of episodes she wrote for both of these series, she actually has more writing credits than her 3 credited NTTD co-writers. Writing 1000 episodes of those shows isn't comparable to a single good bond film. This is why quantity and quality are not the same. >A story credit is given to a writer that participated in writing the treatment for the film (i.e., the outline), in situations where a treatment is drafted before the script itself is written. A story credit is a lesser credit in Hollywood. Ya, the other writers have writing credits, and story credits, and 20 years of history writing bond movies. >Where there is overlap between the story by and screenplay by credits, it means that the original writers' first draft(s) weren't filmable and another writer had to be brought into salvage the script. https://www.indiewire.com/features/general/heres-how-phoebe-waller-bridge-polished-the-no-time-to-die-script-1202213218/ https://www.indiewire.com/features/general/heres-how-phoebe-... >“[I was asked to do] dialogue polishes and to offer things really,” she said. “It’s about just offering different alternatives.” >She went on to say “they did give me some scenes and then be like, can you write some alternatives for this or have another idea about where it could go in the middle or how it would end. And then I would just give them options and various scenes and then they would take what they want. But there was a lot people writing — the director [Cary Fukunaga] was a writer on it as well. And there’d been a few writers before.” They didn't bring her in to salvage the script at all. They brought her in to do polishes of dialogue and to give them some ideas about how things could go and they'd take what they wanted. What about this reads salvaging? She got the invited because one of the film's producers, Barbara Brocolli, invited her to contribute. in my opinion because they were looking to add female writing credits to the movie as the academy awards had suddenly introduced diversity requirements to be considered for awards and all the writers up to that point were men.
  - unionpivo 3y ago
    > ... critically acclaimed ... > ... bait so it wins awards. So if you are a producer that wants "critically acclaimed" and "wins awards", author , hire her ? Maybe that answers why she is getting paid that much. > Writing 1000 episodes of those shows isn't comparable to a single good bond film. This is why quantity and quality are not the same. That's debatable. Personally I wasn't impressed with neither her work or last few James Bond (with the last one being the best of the lot.) For me the best and most consistent author of past decade has been Randall Munroe of https://xkcd.com/ https://xkcd.com/ fame. Does he count ?
  - gamblor956 3y ago
    The two co-writers on No Time to Die that you keep praising were the people responsible for such trash as Johnny English, Die Another Day and The World is Not Enough, which says pretty much all you need to know about their screenwriting "skills" and their contribution to Bond history. For all of the Craig Bond films, other writers had to be brought into to make their scripts filmable (Oscar winner Paul Haggis for Casino Royale and QoS and multiple Oscar nominee John Logan for Skyfall and Spectre, Emmy winners PWB and Fukunaga for NTTD). Notably, Purvis and Wade have never been nominated for screenwriting awards, and the average RT score for the films they wrote without other screenwriters is...38 (the audience scores aren't much better, at 46). PWB's average is 85. Fukunaga's average for his screenplays is 87. PH and JL have won or been nominated for multiple Oscars. They didn't bring her in to salvage the script at all. They brought her in to do polishes of dialogue and to give them some ideas about how things could go and they'd take what they wanted. What about this reads salvaging? The WGA has strict rules about screenwriting credits. If she got screenwriting credit for a major blockbuster, she didn't just "polish" a little bit of the script, she wrote significant portions of the script that made it into production. And given their historical backgrounds, it's clear that she and Fukunaga were responsible for the serious elements of the film, since that's not a capability that Purvis and Wade have demonstrated in any of their prior films.) except its about lesbian/bisexual bait so it wins awards. in my opinion because they were looking to add female writing credits And suddenly your agenda becomes clear...Most people aren't so open about being misogynists.

gamblor956 3y ago

phoebe waller bridge has a single credit of interest for writing This says more about your tastes than your understanding of Hollywood. Ms. Waller-Bridge wrote 2 critically acclaimed TV shows which were hits for their respective distributors: Fleabag (an Amazon Video launch series), and Killing Eve (BBC). She also wrote several smaller series for the BBC, and co-wrote No Time to Die, and provided uncredited rewrites for Solo, Indiana Jones 5, and is currently working on another TV show for Amazon. For her work on both Fleabag and Killing Eve, she was nominated for outstanding writing by her peers (and won for Killing Eve). Taking into account the number of episodes she wrote for both of these series, she actually has more writing credits than her 3 credited NTTD co-writers. doesn't have a story credit unlike the other three writers A story credit is given to a writer that participated in writing the treatment for the film (i.e., the outline), in situations where a treatment is drafted before the script itself is written. A story credit is a lesser credit in Hollywood. Where there is overlap between the story by and screenplay by credits, it means that the original writers' first draft(s) weren't filmable and another writer had to be brought into salvage the script. Some writers will re-write enough things to get sole credit for the final script; others, like PWB, will make just the changes necessary to get it across the finish while still letting the original screenwriters get credited for their contributions.

LegitShady 3y ago
>2 critically acclaimed TV shows I tried to watch them. My opinion is that they were critically acclaimed because the subject matter was popular or outrageous not necessarily because they were good. There aren't any sympathetic characters in fleabag - its a tale of a mentally unstable desperate neurotic woman as she goes from revolting situation to revolting situation through bad decisions she's mostly at fault for. It isn't funny. If you giggle when unlikable people talk about anal sex this may be for you. Killing eve was a tv show that embodies "mid" in every way, except its about lesbian/bisexual bait so it wins awards. >Solo, Indiana Jones 5, Solo was a bad movie and the first star wars film to actually lose money, and indiana jones 5 hasn't been released yet so I'm withholding judgement. >Taking into account the number of episodes she wrote for both of these series, she actually has more writing credits than her 3 credited NTTD co-writers. Writing 1000 episodes of those shows isn't comparable to a single good bond film. This is why quantity and quality are not the same. >A story credit is given to a writer that participated in writing the treatment for the film (i.e., the outline), in situations where a treatment is drafted before the script itself is written. A story credit is a lesser credit in Hollywood. Ya, the other writers have writing credits, and story credits, and 20 years of history writing bond movies. >Where there is overlap between the story by and screenplay by credits, it means that the original writers' first draft(s) weren't filmable and another writer had to be brought into salvage the script. https://www.indiewire.com/features/general/heres-how-phoebe-waller-bridge-polished-the-no-time-to-die-script-1202213218/ https://www.indiewire.com/features/general/heres-how-phoebe-... >“[I was asked to do] dialogue polishes and to offer things really,” she said. “It’s about just offering different alternatives.” >She went on to say “they did give me some scenes and then be like, can you write some alternatives for this or have another idea about where it could go in the middle or how it would end. And then I would just give them options and various scenes and then they would take what they want. But there was a lot people writing — the director [Cary Fukunaga] was a writer on it as well. And there’d been a few writers before.” They didn't bring her in to salvage the script at all. They brought her in to do polishes of dialogue and to give them some ideas about how things could go and they'd take what they wanted. What about this reads salvaging? She got the invited because one of the film's producers, Barbara Brocolli, invited her to contribute. in my opinion because they were looking to add female writing credits to the movie as the academy awards had suddenly introduced diversity requirements to be considered for awards and all the writers up to that point were men.
- unionpivo 3y ago
  > ... critically acclaimed ... > ... bait so it wins awards. So if you are a producer that wants "critically acclaimed" and "wins awards", author , hire her ? Maybe that answers why she is getting paid that much. > Writing 1000 episodes of those shows isn't comparable to a single good bond film. This is why quantity and quality are not the same. That's debatable. Personally I wasn't impressed with neither her work or last few James Bond (with the last one being the best of the lot.) For me the best and most consistent author of past decade has been Randall Munroe of https://xkcd.com/ https://xkcd.com/ fame. Does he count ?
- gamblor956 3y ago
  The two co-writers on No Time to Die that you keep praising were the people responsible for such trash as Johnny English, Die Another Day and The World is Not Enough, which says pretty much all you need to know about their screenwriting "skills" and their contribution to Bond history. For all of the Craig Bond films, other writers had to be brought into to make their scripts filmable (Oscar winner Paul Haggis for Casino Royale and QoS and multiple Oscar nominee John Logan for Skyfall and Spectre, Emmy winners PWB and Fukunaga for NTTD). Notably, Purvis and Wade have never been nominated for screenwriting awards, and the average RT score for the films they wrote without other screenwriters is...38 (the audience scores aren't much better, at 46). PWB's average is 85. Fukunaga's average for his screenplays is 87. PH and JL have won or been nominated for multiple Oscars. They didn't bring her in to salvage the script at all. They brought her in to do polishes of dialogue and to give them some ideas about how things could go and they'd take what they wanted. What about this reads salvaging? The WGA has strict rules about screenwriting credits. If she got screenwriting credit for a major blockbuster, she didn't just "polish" a little bit of the script, she wrote significant portions of the script that made it into production. And given their historical backgrounds, it's clear that she and Fukunaga were responsible for the serious elements of the film, since that's not a capability that Purvis and Wade have demonstrated in any of their prior films.) except its about lesbian/bisexual bait so it wins awards. in my opinion because they were looking to add female writing credits And suddenly your agenda becomes clear...Most people aren't so open about being misogynists.