Writers, Directors Spar Over Credit

LOS ANGELES (AP) â€” Bylines could lead to picket lines in Hollywood this year. <br><br>Contract talks for the Writers Guild of America entered their second week Monday, and the question of how screenwriters

Monday, January 29th 2001, 12:00 am

By: News On 6

LOS ANGELES (AP) â€” Bylines could lead to picket lines in Hollywood this year.

Contract talks for the Writers Guild of America entered their second week Monday, and the question of how screenwriters and directors are credited has emerged as a central one.

At issue is the ``possessory credit'' given to many directors â€” the one before the title that reads ``A Film By ...''

The writers, who say they traditionally have been slighted in Hollywood, say that giving them more influence would lead to stronger scripts. Directors say it would only muddle the finished films.

The Writers Guild began two weeks of negotiations Jan. 22 with The Alliance of Motion Picture & Television Producers, which represents the major studios and production companies. A deadlock could lead to a walkout shutting down production of movies and TV shows.

Among their other demands, the writers want better residual payments for cable programs, reuse on video and overseas distribution. Their contract expires May 1.

The producers' Alliance has declined to comment on the possessory credit, but another union â€” the Directors Guild of America â€” is speaking out against the writers' proposals.

Possessory credits are less of an issue for television writers, who have more control over production than their movie counterparts do. Movie writers say the credits minimize their work and enable directors to dismiss their concerns during production.

``It's extremely difficult for writers to get recognition and the money they deserve, and it's insulting when directors are given credit for a lot more than they have actually done,'' said Steven Katz, screenwriter of the film ``Shadow of the Vampire.''

Added Guild spokeswoman Cheryl Rhoden: ``In this business, the recognition you get for your work is what gets you your next paycheck.''

Directors counter that multiple writers can work on a script, while directors are ultimately responsible for a movie's final shape.

``The possessory credit cuts to the philosophical question of 'Who is the voice behind the movie you go see?''' said Jonathan Mostow, director and co-writer of the thriller ``U-571,'' who supports keeping the credit.

In a recent letter to members, Directors Guild president Jack Shea said the writers' proposals infringe on directors' rights and could ``turn the process upside down ... costing us all â€” in creativity, money and most importantly, our ability to work together.''

Writers also want the right to be present during rehearsals and to view footage before a movie is finished. Currently, control of the story ends for most writers when production begins.

``The directors don't want actors looking to us for direction, but it makes for a better movie if you can change something that isn't working,'' said Amy Holden Jones, screenwriter of ``Beethoven'' and ``Indecent Proposal.''

The possessory credit was designed in the 1950s and '60s as a marketing tool for movies with directors known for a distinct style and body of work, such as Alfred Hitchcock and David Lean.

Steven Spielberg now claims it. Moviegoers have seen ``A Martin Scorsese Picture'' or ``A Spike Lee Joint.''

Prominent writers sometimes take possessory credits. Director Arthur Hiller took a backseat to dramatist Paddy Chayefsky for 1971's ``The Hospital.'' The names of Stephen King and Neil Simon often appear before the titles of movies they write, though they rarely spend much time on set.

``There's nothing to prevent a writer from negotiating for the credit, if they want,'' said ``U-571'' director Mostow. ``But no one is going to win any respect by trying to deny someone else a credit.''

Some filmmakers who double as writer and director â€” including Woody Allen and Kevin Smith â€” reject the possessory credit, saying it diminishes the work others have put into the movie. Jones took a possessory credit when she wrote and directed 1983's ``Love Letters,'' but has vowed not to do it again.

Cameron Crowe, who wrote and directed the Golden Globe-winning comedy ``Almost Famous,'' used the credit, but understands why some writers oppose it.

``My gut says it's a case-by-case basis,'' he said. ``I want to protect writers in any way possible. If it's deserved, it can be a beautiful credit. If it's not, it means nothing. Nobody faces the empty page the way a writer does.''