The World’s Highest Paid Screenwriters
Screenwriting can mean big money for those at the top.
After all, screenplays usually account for around 1-3% of a film’s budget, and when a budget soars as Hollywood tentpoles usually do…well…get your calculator out.
Some screenwriters can start breaking ground on those holiday homes when the cheques clear.
Here are some of those few:
David Koepp is undoubtedly one of the planet’s screenwriting kings.
His PANIC ROOM earned him a cool $3m, whilst THE SUPERCONDUCTING SUPERCOLLIDER OF SPARKLE CREEK, WISCONSIN remains one very expensive unproduced spec, selling for $2.25m.
David is also a pricey hired-hand on box office behemoths.
– JURASSIC PARK, SPIDER MAN, WAR OF THE WORLDS and INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL to name a few.
Not to mention the JACK RYAN reboot and Johnny Depp flop MORTDECAI.
Writer, showrunner, voice artist, Oscar host and warbler of big band showtunes.
Seth Macfarlane was handed a $100m 5 year deal by Fox for his trio of comedy shows FAMILY GUY, AMERICAN DAD and THE CLEVELAND SHOW in 2008.
Not all of that’s for the writing, but Seth still stands as one very highly paid TV writer ever.
DADS and BORDER TOWN have only added to the coffers.
TED received a $500m take on a $50m budget, whilst TED 2 also went on to gain great financial success.
Rossio spent twenty years as one of Hollywood’s go-to-guys.
He’s the man behind ALADDIN, THE MASK OF ZORRO, MEN IN BLACK, GODZILLA, SHREK, PIRATES OF THE CARIBBEAN, NATIONAL TREASURE, and THE LONE RANGER.
His career culminated in the biggest spec-sale ever at the time, for Denzel Washington’s, DÉJÀ VU.
The single script earned him a cool $5m.
Black has a reputation for big spec sales.
His introduction to Hollywood at 26 years old with the LETHAL WEAPON screenplay came with a $250k price tag.
Black also scored $1.75m for THE LAST BOY SCOUT, and broke records at the time with the $4m sale of THE LONG KISS GOODNIGHT.
Shane was also behind the gargantuan haul for IRON MAN 3, co-written with British screenwriter Drew Pearce.
It’s no surprise that Ron is adept at negotiating a big payday, given his background as an entertainment lawyer…
After penning the legendary RAIN MAN, Bass parlayed similar material into a bumper $2.75m payday for MOZART AND THE WHALE.
Ron has been a prolific writer, often working with his in-demand assistants, dubbed the ‘Ronettes’, to write high volumes of material for studios.
When computer billionaire, Ted Waitt decided to splash his cash on a passion project about Amelia Earhart, Ron was the go-to-guy to script AMELIA.
You know you’ve hit pay-dirt when you’re the man billionaires call to write their specs.
David E Kelley
Prolific is an understatement of David’s TV creations over the years,especially considering his penchant for writing entire seasons almost single-handedly.
Kelley was the man behind ALLY MCBEAL, BOSTON LEGAL, PICKET FENCES, CHICAGO HOPE, THE PRACTICE, and DOOGIE HOWSER MD.
He is famous for meeting with writing teams just for story ideas, then jotting out entire solo episodes on his famed yellow legal notepad.
The ‘credit’ is everything for screenwriter’s pay – and David has racked up hundreds of TV episodes over the years, a rare feat in a writer’s room driven industry.
His 2013 creation, THE CRAZY ONES, managed to lure Robin Williams back to a small screen series for the first time since MORK AND MINDY.
Oh, and he’s married to Michelle Pfeiffer.
This is a man who looks forward to his high school reunions.
Aaron Sorkin has dipped his pen in every stream available – big screen, small screen, and top secret script doctor for hire.
As with David E Kelley, Aaron was responsible for writing many episodes of THE WEST WING, SPORTS NIGHT, STUDIO 60 ON THE SUNSET STRIP and THE NEWSROOM.
Each episode had a lucrative payday which would secure the average Joe financially for years.
As if that wasn’t enough, THE SOCIAL NETWORK and MONEYBALL saw big payday returns on the silver screen.
Renowned in Hollywood as script doctor of many a 90’s blockbuster –WATERWORLD, TWISTER, SPEED
Joss made his name in TV fantasy circles with BUFFY THE VAMPIRE SLAYER, FIREFLY and DOLLHOUSE.
Whedon also landed the directing gig that brought together Marvel’s various AVENGERS.
That world-beater, in combination with AGENTS OF S.H.I.E.L.D, lead to an alleged $100m five year deal with Disney – including AVENGERS 2 and several TV series.
TWO AND A HALF MEN, MIKE AND MOLLY, THE BIG BANG THEORY, MOM – in the unforgiving world of US sitcoms, the fact that Chuck had four active shows was a TV miracle.
However, it still remains to be known if the paychecks were enough for having to deal with Charlie Sheen on a daily basis.
Originally best known as Will Ferrell’s co-writer on noughties US comedy classics, ANCHORMAN and TALLADEGA NIGHTS, McKay has since branched out.
After the success of Anchorman, Talladega Nights earned McKay a writers fee of $4m shared between himself and Ferrell.
McKay would go on to pen the screenplays of several more huge hits, including: STEP BROTHERS, ANT-MAN and the BIG SHORT.
As of 2018, McKay’s recorded net worth had reached $40m.
Whilst he may have been more prolific as both Director and Producer, Dobkin has achieved great financial success with the pen.
Dobkin’s ARTHUR & LANCELOT script was initially picked up by Warner Bros. for a reported $2m in 2012.
This would eventually become 2017’s KING ARTHUR: LEGEND OF THE SWORD, directed by Guy Ritchie.
Since making his unspectacular screenwriting debut in 1995 with ICE CREAM MAN, Dobkin has since churned out some much higher earners, including:
JACK THE GIANT SLAYER, R.I.P.D and THE JUDGE all within a two year window.
Action film writer, Simon Kinberg was reported by the The Hollywood Reporter to have made $8m for each of his X-men scripts: DAYS OF FUTURE PAST and APOCALYPSE.
Unsurprising then that he was commissioned to pen the following X-Men film, DARK PHOENIX.
Not all of Kinberg’s writing credits have proved popular with the critics, see, XXX: STATE OF THE UNION, starring Ice Cube, and 2015’s abysmal FANTASTIC FOUR reboot.
One thing is for sure though, Kinberg definitely knows how to turn a dollar!
Academy award winner Brian Helgeland knows a thing or two about scriptwriting, and how to turn a profit.
Helgeland received a fee of $2.5m for A KNIGHT’S TALE in 2001. This would be followed by MYSTIC RIVER and MAN ON FIRE.
Post 2010, Helgeland would also receive impressive payouts for his writing credits on ROBIN HOOD, 42 and LEGEND.
Shrouded in Secrecy…
Details of screenwriting pay are extremely sketchy in the public domain.
This is typical of the esoteric Hollywood accounting which tries to convince the world that blockbusters like HARRY POTTER or THE LORD OF THE RINGS didn’t turn a profit.
Beyond the few highly publicized spec script sales, most screenwriting deals are kept confidential – particularly so back-end bonuses or TV package deals for writer-producer-actors are not broken down into component parts.
This list is not presented as a ranking, and is by no means definitive.
Are there any highly paid screenwriters or top scribes we’ve missed out? Let us know in the comments box, below…