What is a treatment note?
A treatment note is a documented proposal of the director’s creative vision with reference to the ad film script that he or she is pitching to direct. Mostly, it is in the format of a presentation (Keynote or Powerpoint) where in the director explains in minute detail how he is envisioning the film and supports it with visual & audio references. Though some directors also do pitch reference video cuts instead of any text whatsoever. These days, with the rise in the number of production houses and talented directors; the competition is fierce. And the two things that help you sail to the top are: Budget and Treatment Note. Gone are the days when the name of the Director or the Producer was enough to win a pitch. So the Producer puts forth his/her most efficient budget while the Director puts forth his/her most creative treatment note. And together they win a pitch for themselves.
Do all the ad film directors write their treatment notes?
A freelance ad film director has a lot on his plate. First, he has to market himself to a couple of production houses. Then all those, market his profile to a couple of Advertising Agencies (Creatives as well as Films Division). Then in turn, they send scripts whenever they think that the director suits their requirement. Then, the director discusses with the Creative how they both envision the film and then sends a detailed treatment note in a couple of days (usually 2-3 days).
But, while all this is happening, he could be either prepping for some other PPM or a shoot or edit or final submission. On an average, a director with decent network is busy at least 25 days a month. Then, how will it be physically possible for him to always write all his treatment notes. And he could be pitching anything from five to twenty five treatments a month. Hence, these days, most of the treatment notes are outsourced. The director is fully involved in the making of the treatment note but is physically not doing it himself.
Who writes it then?
That’s when a ‘GHOST TREATMENT WRITER’ comes into the picture. You could be an AD or DA doing this as part time or you could be a full time ghost writer with the purpose to just write on behalf of any director who comes your way.
HOW CAN ONE BECOME A TREATMENT WRITER?
If your ‘How’ means how to network to be one – then you need to have at least one director you start experimenting with and see if they like your work. And if they do, the work always speaks for itself and ignites the networking fire.
Now, if your ‘HOW’ means ‘WHAT DOES IT TAKE TO BE A TREATMENT WRITER’, this is what I have to say after these many years of writing hundreds of treatment notes:
Treatment Writing is an art, just like directing commercials.
If you think that anyone with an experienced cameraman can shoot an ad film well because the script is already written by someone else and all the creative calls are already pre discussed and approved in a PPM – you are as mistaken as when you think anyone who knows Google can take out references for a treatment note. Treatment Notes are designed according to the script and the director’s aesthetic sense. So, before you jump on to claim your talent at writing treatment notes, look at a few of them available on Google and see if you can decipher how they came to the conclusion of choosing that particular layout, colour scheme, font and so on. Simply put – if you have a script in hand, and have taken a brief from the director as to how he sees the film; you should be able to put that ‘brief’ into a document that glorifies that brief at least twice as much.
Treatment writing is neither about showcasing your writing skills nor your understanding of the technique of filmmaking. YET, you need to be both – a writer as well as a film maker at heart. Only then can you visualise the film with the director, understand its execution and put it in words that make it interesting to read.
Treatment writing is like cooking – there is a process and there are ingredients that make one dish. And both are imperative for the dish to come out as intended. Similarly, for a treatment note – the overall package in terms of the look of the presentation matters as much as the detailing in the writing. You may copy someone’s kickass layout but if it doesn’t match with the writing; you fail. Similarly, great writing minus the visual backbone fails too. How is the creative supposed to trust you if your body (presentation) doesn’t have a soul (explanation)?
So, if you think you have understood what it takes to be a treatment writer, try out this test: Have a look at a couple of my sample treatments and then try to get hold of some advertising scripts and try to create your dummy treatment notes to see how they turn out. Later, you could even use that as your portfolio while pitching to directors or producer.
Important to note: I am using ‘HE’ & ‘HIS’ only for the sake of convenience in terms of writing and reading. There are equal number of female directors and probably more numbers of female producers in advertising today.
P.S. Here are some of the other useful links:
Popular Headers in Treatment Notes
What you must definitely not miss in a Treatment Note
Why understanding your director is the most important aspect in Treatment writing!