The commissioning

process for writing

for television and
video

Garrod, Ben (55117)

55117@eastnorfolk.ac.uk
Ben Garrod, 55117 The Commissioning Process

Contents

Commissioning ........................................................................................................... 3
Job Roles within the Commissioning Process......................................................... 3
Director ............................................................................................................... 3
Director Case Study: Danny Boyle ...................................................................... 3
Producer ............................................................................................................. 4
Producer Case Study: Steven Spielberg ............................................................. 5
Script Editors ....................................................................................................... 6
Agents ................................................................................................................. 7
Screenwriter ........................................................................................................ 7
Screenwriter Case Study: Richard Curtis ............................................................ 7
Commissioning Editors ....................................................................................... 8
Commissioning Bodies ........................................................................................... 9
Corporations ....................................................................................................... 9
Independent Production Companies ................................................................... 9
Independent Directors ....................................................................................... 10
Organisations .................................................................................................... 10
Competitions ..................................................................................................... 10
The Role of the Writer Throughout Production...................................................... 11
Pre-Production Planning ................................................................................... 11
Script Changes.................................................................................................. 11
Shooting Script Production ................................................................................ 12
Page Lock-Down ............................................................................................... 12
Adjustment During Shooting ............................................................................. 13
Working as a Screenwriter ....................................................................................... 14
Agent Representation ........................................................................................... 14
Earning Money as a Screenwriter ......................................................................... 14
Examples of Sold Scripts ...................................................................................... 14
Professional Presentation ..................................................................................... 15
Time Management ................................................................................................ 15
Script Standard Format ......................................................................................... 16
Fit for Purpose ...................................................................................................... 17
Legal and Ethical Considerations ............................................................................. 19
Copyright............................................................................................................... 19

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Bias ....................................................................................................................... 19
Censorship ............................................................................................................ 19
Watersheds ........................................................................................................... 20
Libel ...................................................................................................................... 20
Plagiarism ............................................................................................................. 20
Plagiarism/Copyright Case Study: Zootropolis ...................................................... 20
Libel Case Study: The Wolf of Wall Street ............................................................ 21
Bibliography ............................................................................................................. 22

Resubmission changes are highlighted.

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Commissioning

Job Roles within the Commissioning Process

Productions require a team effort, with all members of cast and crew working
together. Each member of the crew will specialise in their job role. In this section I
will describe the role of different members of the crew and their involvement in the
commissioning process.

Director

The role of the director is to hold the production’s creative vision and interpret the
script. They are employed by the producer and work closely with the screenwriter
and all members of the cast and crew. The relationship between director and
producer is important; the producer deals with the administrative aspects (e.g.
finance), leaving the director to focus on the creative side. Honesty and trust
between the director and producer are highly important. The director makes
decisions and compromises throughout the creative process, as they must consider
budgetary, crew and script limitations.
The director’s involvement at the start of the commissioning process is dependent on
the production. In some cases, the director will have a script idea and will hire a
screenwriter to create a script based on the idea. On the other hand, a screenwriter
may produce a script and go through the commissioning process to find a director.
Some screenwriters and directors will always work together.
At the start of the commissioning process, the director and screenwriter will work
closely together to refine the spec script, which will go through several edits. After
the script has been refined, funding is acquired from production companies.

Director Case Study: Danny Boyle

Danny Boyle is a director and producer, best known for 127

Hours, 28 Days Later…, Slumdog Millionaire and Yesterday.
Boyle was inspired to start a career in film when he watched
Apocalypse Now. In a 2011 interview, he said that the film “had
eviscerated my brain” and came to the conclusion that “cinema…
remains a young man's medium.” (Boyle, 2021) He started his
career in the theatre as an artistic director at the Royal Court Theatre Upstairs
(1982-85) and as a deputy director at the Royal Court Theatre (1985-87). His first
role as a director was in the TV film ‘Scout.’ By 1994, he directed his first feature film,
Shallow Grave. (Britannica, 2021)

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Danny Boyle has collaborated with his writing partner, John Hodge, on six occasions
since his debut film, Shallow Grave, in 1994. According to an interview with the
Independent, Danny Boyle has a relationship with his writer that is “quite intense,
passionate and loyal.” (Boyle, Independent, 2019)
During his career as a director, Boyle has won an Academy Award, two BAFTA
awards, one Golden Globe Award and one Primetime Emmy Awards.

Figure 1 - Danny Boyle IMDB Page

Producer

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The producer manages all the practical aspects to a production; coordinating and
supervising to bring the project to fruition. Producers are present from start to finish –
from pre-production to the release of the film. They are the overall decision makers,
work closely with all staff and often hold the rights to the film. Legal responsibilities
(e.g. health and safety) are managed and upheld by the producer. (Screenskills,
2020)
Producers manage the finances of a production – a key part of the production
process. Before a film can be financed, a detailed budget must be drawn up.
Software can be used to assist with a production’s budget. Movie Magic is an
example of budgeting software that will ask budgeting questions to prompt financial
decisions. Budgeting a moving image production falls under two different categories:
“above the line” (the actor costs) and “below the line” (the cost of the crew.) (Job
Roles in Film & Television: Understanding The Industry, 2006)
The producer is also involved in choosing actors and crew members during the
commissioning process. The talent, availability, and ‘package’ (financial
arrangements) are considered during this process. The producer and director will
work together to balance the creative vision with the budget.

Producer Case Study: Steven Spielberg

Steven Spielberg is an American film producer and director. He

has produced a diverse range of films, including Back to the
Future, Men in Black and Memories of a Geisha. (Wikipedia, 2021)
Spielberg’s first professional job came when he was hired to direct
a segment for the pilot episode of Night Gallery in 1969. Joan
Crawford, staring in the film, noted that Steven was a “young
genius… with a brilliant future ahead of him.” However, his contributions to the film
were not well received, and he was ordered to shoot the film quickly. (Wikipedia,
2021).
In 1984, Spielberg, Frank Marshall and Kathleen Kennedy founded their production
company: Amblin Entertainment. He served as a producer on nineteen feature films
between 1984 and 1990.

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Figure 2 - Amblin Entertainment Films

Spielberg has won three Academy Awards, three BAFTA Awards, six Golden Globe
Awards and 12 Emmy Awards. He is one of the most successful producer/directors
of all time.

Script Editors

The script editor has many responsibilities: including finding new script writers,
developing the storyline, and ensuring that the script is polished and ready for
production. They work closely with the writer at each draft of the script, giving
feedback, suggesting improvements, and advising on practical issues (e.g. screen
time and continuity.) (Reading Agency, 2021)

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Agents

Agents represent film cast and crew members, acting on their behalf to obtain work.
They must negotiate with all parties to ensure that the best deal is agreed. An agent
is responsible for keeping their representative’s diary.
Actors must put themselves in the best possible position to gain work and showcase
their talent – show reels are an excellent way to do this. Cast and crew members
generally must work their way through the job roles to progress in their careers. For
example, an aspiring director of photography may begin their career as a runner and
progress into roles such as a photography assistant.
Agents are a crucial part to the pre-production process; they allow producers easy
access to a pool of cast and crew. They act as a negotiator for producers and
cast/crew and must be tolerant of opposing opinions. (Job Roles in Film &
Television: Understanding The Industry, 2006)

Screenwriter

Screenwriters write and develop screenplays. These may be an original idea or an

extension of an existing story (e.g. a new episode for a TV show.) They may create
an unsolicited script – seeking a director and funding – or be commissioned to write
a script to fit the brief. A writer must sell themselves to get commissioned; agents,
portfolios and networking are essential.
During the commissioning process, a screenwriter typically develops three drafts –
the final of which is ‘the polish.’ If the screenwriter does not have a buyer, the final
draft will be pitched to film studios.
Screenwriters contend with tight deadlines, as without a final script, scheduled
filming cannot take place. Changes are often made to the script by the director
without the writer’s approval. Although standard practice for media productions,
script changes can prompt a writer to abandon the production (in which case an
additional writer may be brought in.) (Screenskills, 2021)

Screenwriter Case Study: Richard Curtis

Richard Curtis is a British screenwriter, born on the 8th November 1956. He is a very
successful comedy screenwriter, with his portfolio including Notting Hill (1999),
Bridget Jones’s Diary, Love Actually and Yesterday.
He attended Papplewick School and won a scholarship to Harrow School, becoming
head boy. At the University of Oxford, he started working with Rowan Atkinson, as
they were both on the scriptwriting team of the Etceteras Revue, part of the

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Experimental Theatre Club. Off the back of his work at Oxford, Curtis and Atkinson
appeared at the Edinburgh Fringe show. From this, he was commissioned to write
the BBC Radio 3 series “The Atkinson People” in 1978. He then started his career in
comedy films and TV shows and was a writer on the BBC series “Not the Nine
O’Clock News.”
During his 43-year career, Curtis has won three BAFTA awards, one Primetime
Emmy Award and a British Independent Film Award. (Wikipedia, 2021)

Figure 3 - Richard Curtis IMDB Page

Commissioning Editors

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Commissioning editors are representatives of a production company, responsible for

ensuring productions are innovative and have a strong audience. They provide an
objective opinion on script proposals, deciding if the script is viable. Finance,
demographics, and target audience are all considerations. After a script has been
pitched, a report assessing the script’s viability is written and a decision on funding is
made.
Some production companies accept unsolicited scripts. In this case, commissioning
editors are crucial, as they need to make quick judgements. (Prospects, 2021)

Commissioning Bodies

Commissioning bodies decide if a screenplay is viable to go into production. If the

production company deems that a script would be commercially successful, they will
strike a deal with the screenwriter. Most large-scale films are funded by multiple
production companies, to spread the cost and risk. There are several different types
of commissioning bodies, which I will discuss below.

Corporations

Many corporations will actively seek out scripts from screenwriters. Getting
commissioned by a corporation generally requires a track record of previous
success, and an agent is used to liaise between the two parties. This creates an
entry barrier to new screenwriters with little experience.
The BBC, a corporate commissioning body, combats this problem by allowing any
writer to send in their work to their ‘Writers
Room.’ This provides an excellent way for
unknown script writers to start their careers
and gain experience. They accept scripts
twice a year, and guarantee that the first 10
pages of a script are read by a BBC script
reader. Scripts which have promise may be
edited and put into production. Once the
production has been released, the writer will be payed a percentage of the profits.
(BBC, 2021)
An example of a successful commission through the BBC Writers Room is The
Break; a series of five short monologues written by BAME writing talent in the UK.
Each monologue had a strong emphasis on diversity and explores different
perspectives. (BBC, 2021)

Independent Production Companies

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Independent production companies are smaller scale, and typically do not have the
financial backing of a larger film studio or corporation. For example, they may have
to hire equipment and soundstages. (Bethel, 2021)
It is beneficial to be an unknown writer when pitching to an independent production
company, as this provides a financial saving. Films produced by independent
production companies often take a similar format to studio films, but budgetary
constraints may limit their scope.
Independent production companies obtain funding from several sources, such as the
BFI film fund, crowdfunding and online donations. To reduce costs, some small
production companies may collaborate by sharing skills and finances.
An example of an independent production company is Tiger Aspect, recognised as
one of the UK’s most successful independent production companies. They create a
range of programs, mostly for television. Among their most successful productions is
the animated version of Mr Bean, which debuted on 5th January 2002 and remains
popular to this day. (Tiger Aspect, 2021)

Independent Directors

Directors who are starting their career may choose to create an independent film on
a low budget. This allows the director to establish a reputation and secure future
directing roles. Having budgetary constraints forces creativity, as traditional methods
may have to be adapted to fit the budget.
An example of an independently directed film is The Blair Witch Project (1999) – a
supernatural horror film. Directed by Eduardo Sánchez and Daniel Myrick, the film
had a small budget of $60,000. The majority of the film consisted of 1st person
footage. One of the main actors – Joshua Leonard – said he was cast due to his
camerawork knowledge, therefore cutting costs. (Wikipedia, 2021)

Organisations

Organisations aid screenwriters starting their career. For example, Screenskills offer
general advice, training courses and mentoring – providing a gateway into the media
production industry. According to their website, they “help people get into the media
industry and progress within it.” Although Screenskills do not directly fund films, they
can arrange bursaries to support those who need help with fees (e.g. transport)
when starting their career. (Screenskills, 2021)

Competitions

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Screenwriting competitions are another commissioning method – excellent for

starting an unknown screenwriter’s career. An example of a screenwriting
competition is The Red Planet prize, a bi-annual competition which aims to bring an
emerging screenwriter into the mainstream. Ten writers are shortlisted and are
invited to pitch their script and the winner has their script commissioned. The winner
receives mentoring to kickstart their career as a screenwriter. (Red Planet Pictures,
2021)
The first winner of The Red Planet prize in 2007, Robert Thorogood, wrote the BBC
1 drama Death in Paradise. This achieved mainstream success, with a 10th series
being released in 2020. (Red Planet Pictures, 2021)

The Role of the Writer Throughout Production

Pre-Production Planning

Before writing the first draft of a script, the writer will create an outline of the
narrative, often using index cards, helping to give direction to the script writing
process. The script will then go through several drafts before being commissioned,
often at least 10 drafts are created. Screenwriting software, such as Celtx can be
used to speed up the writing process. (Job Roles in Film & Television:
Understanding The Industry, 2006)
Once a script is commissioned, further planning for each scene is conducted during
pre-production. For example, a location for each scene will be set. Viability must also
be considered; if a scene is not viable then it may be edited or removed.

Script Changes

During the production process, changes may need to be made to a script, due to
creative or financial reasons. During pre-production, the script readers, director, and
producer may make changes to ensure that the production is viable – for example, a
scene may be altered to fit budgetary constraints. Changes to the script may occur
during production, either deliberately or due to actor improvisation. For example, if
unforeseen circumstances arise during production (e.g. poor weather or running over
schedule), the script may be altered to overcome these issues.
Script changes may also need to be made to alter the film’s structure. For example,
a scene may need to be removed in order to keep the momentum in a film going.
Furthermore, scenes may need to be removed or shortened to reduce the overall
film runtime. In other cases, it may be necessary to adapt a script’s plot in order to
make a film more exciting, for example a scene with lots of dialogue may need to be
contrasted with a scene of physical action.

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As a screenwriter, making changes to the script is a difficult decision; sometimes

script changes must be made for the script to be commissioned. During production,
the writer has little power over script changes, as the director and producer make the
ultimate decision. This has led to some screenwriters severing their ties with a
production, although in some cases they cannot remove their name from the credits
due to contractual reasons. (Celtx Blog, 2021)

Shooting Script Production

After a screenplay has been commissioned, the spec script (produced during the
commissioning process) must be made into a shooting script. Shooting scripts are
the version of the screenplay used for creating a television show or movie, therefore
they include additional directions (e.g. for the cinematographer.)
Shooting scripts include the following:
 Scene numbers aid organisation and logistics.
 Camera directions enable camera operators to plan for the upcoming shots.
 Special effects details are required during the production and post-
production processes.
 Action sequence details help to plan for any stunt sequences during
production.
 Set information (costumes, scenery, lighting etc.) allows set designers to
prepare the scene for each shot.
 Acting directions are useful when a particular emotion must be displayed.
However, they should be used sparingly, as the actor should be able to
interpret the script themselves.
The director, cinematographer and writer may all be involved in the production of a
shooting script, which is an amalgamation of their collective creative vision. (No Film
School, 2021)

Page Lock-Down

When a shooting script is created, scene and page numbers will be assigned to
assist the production process. Page lock-down describes the process of coordinating
script changes. When new pages are inserted into a script, letters are added to the
page number (e.g. page 89A), meaning that overall numbering is not impacted.
Script updates are also colour-coded, so that revisions can be easily tracked. The
standard colour order for script revisions is as follows:
 White (unrevised)
 Blue
 Pink

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 Yellow
 Green
 Goldenrod
 Buff
 Salmon
 Cherry
 The sequence repeats
 (Celtx Blog, 2021)

Adjustment During Shooting

Although scripts go through several revisions before production begins, sometimes

changes need to be made during the production process. For example, lines in the
script may not suit the persona of the actor and feel unnatural. The director, producer
or writer may suggest changes as required. (Job Roles in Film & Television:
Understanding The Industry, 2006)

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Working as a Screenwriter

Agent Representation

Agents act as representatives and help sell spec scripts to producers and production
companies. They liaise with potential script buyers; many of whom require an agent
to be involved in the process. Throughout the process, the agent will negotiate in the
creative and financial interest of the screenwriter. Once a script has been
commissioned, the agent will help the writer remain organised, and will maintain their
diary.
Hiring the right agent is incredibly important. A good agent should open doors for the
writer and negotiate on their behalf. The relationship between screenwriter and agent
must be trusting and open. (All About Careers, 2021)

Earning Money as a Screenwriter

The Writer’s Guild of Great Britain outlines that screenwriters should earn between
1% and 2% of a film’s total budget. For a budget more than £2 million, the writer
takes home a minimum of £42,120 for the production.
The first payment a screenwriter may receive is through the optioning process.
Optioning takes place if a company or individual aims to turn the script into a
production and prevent others from doing so. A contractual agreement is signed
between the two parties, in which the writer is payed a sum of money for the script
idea to be held. This contract will be time limited; after it has expired the script could
be put into production by another company.
A step deal between the writer and production company may be arranged. This
consists of gradual payments for each draft of the script (first draft, rewrite, and
polish.) At each stage, 50% of the payment is made at the start of the step and 50%
once it has been completed.
The next payment stage is the back end; a payment triggered by a stage during the
production process. For example, the writer may be payed after the first day of
shooting.
Once the film has been released, a writer may be awarded bonuses depending on
the success of the film’s release. For example, if the box office target has been
exceeded, the screenwriter may receive a monetary bonus. (Industrial Scripts, 2021)

Examples of Sold Scripts

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If a screenplay is found to have significant potential, a production company may buy

the script during the optioning process. Here are some examples of the most
expensive scripts that have been sold:
 Déjà Vu (2006) – written by Terry Rossio and Bill Marsilli, this script sold for $5
million.
 Talladega Nights (2004) – written by Will Ferrell and Adam McKay, this script
sold for $4 million.
 Eurotrip (2004) – written by Jeff Schaffer, Alec Berg and David Mandel, this
script sold for $4 million.
 The Long Kiss Goodnight (1996) – written by Shane Black, this script sold for
$4 million.
 Basic Instinct (1992) – written by Joe Eszterhas, this script sold for $3 million.
 (Lucia, 2020)

Professional Presentation

To hold the best chance of getting commissioned, a screenwriter must present

themselves and their work in a professional manner.
During the commissioning process, the screenwriter will generally have to pitch their
script to a producer or production company panel. Their presentation may be the
difference between the script getting commissioned or not getting commissioned.
During any professional pitch, it is incredibly important to engage your audience.
Maintaining good eye contact, using gestures, and including vocal intonation are all
required. Pitches should be kept simple and targeted to the audience. (Job Roles in
Film & Television: Understanding The Industry, 2006)
Additionally, excellent script presentation is required during the commissioning
process. Script writing software (such as Celtx) can be used to aid the script
formatting process and will generally include the required templates. Several rules
should be followed when formatting a screenplay script. For example, every scene
should begin with action and description; the script should be no longer than 119
pages (for a feature film) and the work must be copyrighted and registered before
the starting commissioning. (Studio Binder, 2021)

Time Management

Time management for screenwriters is critical. Scripts must be completed by the

deadline, as arrangements for production (such as location, equipment, and
personnel hire) are already in place.

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If the script is not finalised for the deadline, this can have a serious knock-on effect.
Actors generally have tight schedules, meaning that delays in shooting (due to a
script not being ready), could mean that some actors are not available. This may
mean that the production schedule must be rearranged, and some scenes may have
to be shot later. Any delay to a production will increase costs, as staff and equipment
will need to be paid for a longer period.
Therefore, a writer must plan and manage their time effectively. For example, they
could set themselves smaller targets for the number of scenes that should be
completed by a set date. To avoid writer’s block (a creative slow down), it’s important
that the screenwriter includes breaks, exercise and fun in their schedule. (Job Roles
in Film & Television: Understanding The Industry, 2006)

Script Standard Format

Typically, professional screenplays are written in 12-point Courier font. This is

because Courier is fixed pitch, meaning that each character is the same width.
Screenplays generally have one page equal to one minute of screen time, so the use
of a fixed-width font is important. Furthermore, Courier is similar to a traditional
typewriter font; giving screenplays a traditional feel. Some screenplays use a
variation on Courier, for example Courier Prime, Courier New or Courier Final Draft.
In general, all screenplays use the following layout conventions, in this order:
 Scenes – a scene is a section of the script with related plot material.
 Slug line – this gives contextual information about the scene, including
whether it is inside or outside, location and time of day.
 Scene direction – this describes the characters’ actions in the scene and is
written in the present tense.
 Character cue – the name of the character that is speaking.
 Actor direction/parenthetical – written underneath the character cue, this
describes how the line should be delivered.
 Dialogue – what the character says.
Formatting is used to differentiate elements of a screenplay, to make it clearer. For
example, all dialogue is indented in, with the character’s name indented further in,
above the dialogue. All character names are capitalised, helping to improve
readability and easily differentiating them from the rest of the text.
A page from my screenplay – Living in the Future – is below, demonstrating
screenplay layout conventions.

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Fit for Purpose

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Screenplays may need to fit certain criteria to be viable. For example, a screenplay
with a target audience of children must be eligible for a U or PG certificate rating. TV
shows aimed at children would need to meet the requirements to be pre-watershed.
The writer should be conscious of the screenplay’s purpose and requirements
throughout the writing process. If the screenplay must adhere to a particular age
rating, BBFC guidelines should be referred to throughout, to ensure that the content
of the screenplay meets the corresponding criteria. For example, the BBFC’s U
(universal) category is defined as “suitable for all.” (BBFC, 2021)
During the writing process, a writer may employ the help of a script editor, to read
over their script and assess its suitability for the purpose.

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Legal and Ethical Considerations

Copyright

Copyright ensures that the screenwriter’s work is not used or redistributed without
their consent. In the UK all released work is automatically copyrighted, however it is
important that a writer takes steps to ensure that the copyright is upheld.
It is necessary to build up a ‘chain of evidence’ for copyright; this provides a timeline
of your script’s creation and use in the eyes of the law. First, the screenwriter must
register all stages of their work – which proves the work was created by the writer.
Copyright registration should take place at every stage of the creative process, for
example when a synopsis is created and after each draft. Furthermore, a record
should be kept of everyone who has seen the script, or had it pitched to them. (Script
Angel, 2021)
The recommended way of registering a script is through a film organisation, such as
BECTU. Members of BECTU can register their scripts with them for free.

Bias

Bias describes when there is prejudice towards a concept or group of people,

resulting in unfair representation. Screenwriters may include subconscious bias in
their scripts; therefore, it is essential that measures are in place to ensure fair
representation in scripts.
From the conception of a script idea, writers should ensure that a diverse set of
individuals is represented. For example, a script without bias would assume equal
weight to both genders and ensure that one is not subservient to the other.
Software has been developed to evaluate diversity in scripts, acting as a ‘bias
spellcheck.’ This helps identify subconscious biases and allows the writer to rectify
them before the script enters production. (Wikipedia, 2021)

Censorship

If parts of a script are considered too offensive for the movie, they may have to be
censored (removed). If a production aims to be classified at a certain age rating (the
BBFC facilitate this in the UK), the producer, director and screenwriter may choose
to carry out censoring in order to appeal to a wider audience and age range. (BBFC,
2021)

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Watersheds

In the UK, before the watershed, no TV programs with offensive material should be
shown. The watershed is at 9pm until 5:30am – between these times there are fewer
restrictions as to what can be aired on TV. This aims to protect younger children
from potentially harmful content. Similar to film classifications, writers may have to
consider making their script suitable for before the watershed to appeal to a wider TV
audience. (Ofcom, 2021)

Libel

Libel describes when a false statement is published that damages a person or

company’s reputation. Screenwriters should exercise extreme care to ensure that
libel is not included in their scripts; harmful remarks should only be made to fictional
characters. If a writer commits libel, court cases and fines can result. (Carter Ruck,
2021)

Plagiarism

Plagiarism describes work the use of someone else’s work without their permission
or credit. Screenwriters should ensure that all script ideas are either original or used
with permission. Reasonable care should be made to ensure that a script idea is not
influenced by or highly resemblant of an existing script. If someone else’s work is
used in the script, it should be quoted and referenced with permission from the
original writer. (Plagarism, 2021)

Plagiarism/Copyright Case Study: Zootropolis

Zootropolis was released by Disney Animation Studios in 2016,

and was largely successful, receiving an Academy Award for Best
Animated Feature.
In March 2017, screenwriter Gary Goldman started legal proceedings against
Disney, as he believed the film stole his ideas which were pitched to them in 2000
and 2009. His pitch was for a live-action film (titled Looney), that was focused on an
animator developing a series called Zootropolis. Goldman claimed that key themes,
settings, and the name were taken from his pitch. However, the judge ruled that the
links between Goldman’s pitch and Zootropolis were tenuous, and the case was
ruled in Disney’s favour. (Taste of Cinema, 2021)

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Libel Case Study: The Wolf of Wall Street

The Wolf of Wall Street (2013), directed by Martin Scorsese, is a

highly popular film, which was nominated for five Oscars. It is
based on the true story of Jordan Belfort, a wealthy stockbroker.
(IMDB, 2021)
In 2014, a lawsuit was filed against the production companies
(Paramount Pictures and Red Granite Pictures) by Andrew Greene, who was the
inspiration for the character Nicky Koskoff. He claimed libel – damage to his
reputation – as his character is portrayed as a criminal, drug user, and a man without
ethics. Greene alleged the film “permanently damaged” his reputation. Paramount
claimed that the character of Koskoff was an amalgamation of several personalities
from Jordan Belfort’s book, which the film was based on. (Guardian, 2021)

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Ben Garrod, 55117 The Commissioning Process

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