在二、三十年代的美国,电影编剧的地位十分低下。事实上那时也没有独立的电影编剧。当时好莱坞的制片程序一般是:制片人或导演设计出一个故事提纲,然后交给雇来的编剧,由他敷演情节,写出细节和对话。在一个很长的时间里,电影编剧对他曾参预写作的剧本根本没有什么主权可言。人们不会把一部成功的影片归功于它的编剧。在好莱坞,电影编剧被看作是召之即来、挥之即去的商品,而不是一个艺术家。许多作家对于涉足电影剧本的写作也悔之莫及。这种情况困扰着好莱坞的电影编剧,他们决心建立自己的组织来 In the United States in the 1920s and 1930s, screenwriters played a very low role. In fact, there was no independent screenwriter at the time. At that time, Hollywood’s production process was generally as follows: the producer or director devised a synopsis of the story, which was then handed over to the screenwriter hired to perform the story and write down the details and dialogue. For a long time, the screenwriter had no power at all about the scripts that he had been involved in writing. People do not attribute a successful movie to its screenwriter. In Hollywood, film writers are seen as call-to-go, not-for-anything, not an artist. Many writers regret writing about screenplay. This situation plagues Hollywood screenwriters, who are determined to set up their own organization