By now, we've all read about the co-op John Wells and several other writers formed and how it works. John August and Craig Mazin have good commentaries but I gotta tell you - and at the risk of sounding like the green rookie that I am - I still don't fully get the full impact of this. I've read everything I can on this but I need some Romper Room language.
My newbie roots are showing. A little help?
What I do understand -
I understand the basic premise and how the co-op affects these guys and the standard they could be setting for other A listers who may want to copy them. I understand the sacrifice they're making up front for the long run benefits and the example this sets for the profession of writing. But these are some of Hollywood's highest paid writers. So, yes, the likes of Ted Elliott and Craig Mazin and John August should take notice.
What I don't understand - Is this for A listers only?
Would this same concept work at all for Hollywood's not so coveted writers? Seems to me that this has almost nothing to do with anyone BUT A listers because --
(1) Craig Mazin says, if this idea spreads, it will put downward pressure on spec prices. It seems like that would only apply to the A listers. Doesn't downward pressure already exist everywhere else?
(2) The co-op acts as the film's producer? So, the studio doesn't bring in another producer at all? I'm assuming different co-ops will have different levels of voice and participation depending on the caliber and credentials of the writers in the co-op, wouldn't you think?
(3) Schulman said that if this model works, the co-op hopes other writers will emulate it. Will copycat co-ops work at all with non A-list writers? What really makes the co-op work, the material written by its participants or names of the scribes behind it? Since the material isn't written yet, isn't this first co-op's strength in its founding names?
I'm just asking questions and welcome any enlightenment. I really don't know anything so all help is appreciated. No tomatoes please.