Deep breath. Aaaaand relax. It's over. Back to reality. Well, not quite. Take a few more days off why don't you? After all, it's practically New Year. Live it large, have that extra chocolate, drink that naughty cocktail, enjoy the moment. Then, you can get back into the swing of things with a newfound sense of purpose and dedication once the early dew of 2007 begins to emerge.
Still, you're no doubt going on-line, checking emails and surfing the blogs so here's something from the story vault archives (last Christmas) about the most important aspect of screenwriting: characters. See you in the New Year.
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“Writing screenplays is hard” is an assertion easy to grasp but this neat summary of the task doesn’t quite describe just how hard and difficult it is to get from page one to fade out.
There are so many aspects of screenwriting craft to consider and get right: concept, tone, pace, structure, visual narrative (cinematic), plot, dialogue, setting, theme. These areas can be studied, taught and learned but there’s one key aspect that is much more difficult to define and dissect.
Characters. The people that populate your story will be the main reason why the audience will want to stick around and be swept away by your concept, tone, pace, structure…
This applies to TV and film. Favourite dramas, sitcoms, movies of the week, whatever, all have a great foundation at their heart to make their ideas and story lines work. Great characters. Friends, Frasier, NYPD Blue, The West Wing, Sopranos, ER, Queer as Folk, Cracker, Shameless, State of Play, The Office…
The tone, energy and humour of the show/film will largely come from the characters’ characterisation and behaviour. If a script is chugging along with two-dimensional characters who are contrived into a situation and provided with dialogue that isn’t credible, emotive or amusing, then the script is reading flat and uninspiring.
Kimberly Simi, writer of Casanova (the film version, not Russell T’s delightful romp), has this to say: “I think it's always a struggle to make sure your characters are engaging and have some basis in humanity so that people care about them. [But] at the same time, you need a plot that's interesting. You can't just have interesting characters, you have to have a plot that supports your characters. So I think the struggle is creating a plot that is worthy of your characters and characters that are worthy of your plot."
And therein lies the rub. So much advice from books and gurus will tell you how to mould the perfect plot with the pinpoint three-act structure but like moths to a scalding light, new screenwriters focus on the craft and forget about the care needed to make the characters work.
The week before Christmas, I went to Dublin to attend a meeting with Parallel Films who are developing one of my scripts. Previously, I took their (valuable) notes and went away to write a new draft. I was pleased and confident that I had strengthened the characters and structure, and made the script a much more appealing and rounded story.
They hated it. They thought it had taken a step backwards (from the first draft), and worse, that it felt like it had been written by a different writer. They were very disappointed. All because of one glaring inconsistency (for them): the characters. They felt my rewrite lost sense of who the characters were and what they wanted.
It was the worse reaction to one of my scripts, ever. And I got paid! I sat there, in the producer’s house, gobsmacked. The writing was good, no question (towards the end of the meeting, we discussed the possibility of me writing for a TV series they’re making) but the new scenes and structure had altered some of the characterisation of the key characters, and they were too disconcerted to appreciate all my finely honed craft.
I disagreed with them. I felt the script, and characters, were stronger but it wasn’t a case of “I’m right, you’re wrong”, it was a fascinating and compelling exercise to listen to their response and learn why they felt that way.
If this had happened a couple of years ago, I would have probably bawled my eyes out and thrown a silent tantrum but instead of feeling sensitive and insecure, I was calm and even about their reaction as opposed to what I had intended in the script (more people have read the script and opinion is divided: some love the new draft but Parallel dislike it and they’re the ones who’re paying).
Focus on the characters. Get them right. Clarify their motivation and characterisation, and keep them consistent whilst developing their emotional journey throughout the story. It's best not to confuse or mislead the reader/audience with ambiguous character behaviour. Try not to contrive a plot or situation to fit the characters, it's better to dramatise the characters’ needs and conflict so that it becomes the body of the drama.
And don’t forget the pace, tone, structure, dialogue, subtext, visual narrative, plot, setting, theme…
Writing screenplays is hard? Damn straight.
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Rabu, 27 Desember 2006
Jumat, 22 Desember 2006
Blog Awards 2006
Tom Green over at the Writers’ Guild blog has announced his highlights and recommendations for 2006, which was pretty neat, so in a similar vein, here are my awards of the year:
Writers of the Year - Purvis & Wade for giving us the best Bond ever but it’s universally agreed now that the film is 20 minutes too long towards the end.
Best UK Breakthrough - A close call between Ed Blum for Scenes of a Sexual Nature and James Moran for writing Severance but the winner is Paul Williams, writer/director of London to Brighton.
Blogger of the Year - Vicious Imagery by David Bishop. He’s like the UK version of Denis McGrath’s Dead Things on Sticks. David's hard work and dedication is also an inspiration.
Best Event - Cannes, because it was my first time (endless thanks again to Tim & Suki for making it so worthwhile).
Best Screenwriting Event - Screenwriters’ Festival in Cheltenham. Despite the sulks and moans about the New Writers’ Day, the remaining fixtures were excellent. On the down side, it was steep to attend (I could only afford a day), and you could have flown to LA for the Screenwriting Expo for pretty much the same cost.
Also, charging for the podcasts is outrageous when you can get better podcasts on the internet for free (hello Creative Screenwriting and Sam & Jim). But the UK scene definitely needs something like this, and the festival looks to become a regular fixture on the screenwriting calendar.
Best Event I Didn’t Attend - FrightFest. Scheduling clashes abound meant I missed the premiere of Severance and other top films.
Highlight of the Year - Writing an episode for The Amazing Adrenalini Brothers for CiTV. The show recently won a Bafta for Best Children’s Animation.
Disappointing Moment of the Year - Finally hearing from EastEnders only to be told ‘sorry, maybe next year’.
Best Rejection - One of my scripts was taken to Robert Zemeckis by a contact I made in Cannes but "Bob" eventually decided that it wasn't for him. The rejection sends a flutter of excitement through my body as it's like meeting your maker (I didn't actually meet him) only to be told you need another go on Earth before you get the gig.
In my fantasy version of events, "Bob" read the script (not one of his readers, no sir) and "Steve" Spielberg dropped by for a coffee: "Hey Bob, watcha reading?" "Oh, this great script. It's not for me, but let me read you this great line from page 35."
Like, it could have happened...
Reasons to be Cheerful - Awaiting to hear about potential TV commissions and other projects, and healthy interest in my writing in general.
Best Part about Blogging - Meeting new friends and colleagues, knowing that they’re sharing the same highs and lows, whether or not you’re trying to break in, or just trying to get on.
Writers of the Year - Purvis & Wade for giving us the best Bond ever but it’s universally agreed now that the film is 20 minutes too long towards the end.
Best UK Breakthrough - A close call between Ed Blum for Scenes of a Sexual Nature and James Moran for writing Severance but the winner is Paul Williams, writer/director of London to Brighton.
Blogger of the Year - Vicious Imagery by David Bishop. He’s like the UK version of Denis McGrath’s Dead Things on Sticks. David's hard work and dedication is also an inspiration.
Best Event - Cannes, because it was my first time (endless thanks again to Tim & Suki for making it so worthwhile).
Best Screenwriting Event - Screenwriters’ Festival in Cheltenham. Despite the sulks and moans about the New Writers’ Day, the remaining fixtures were excellent. On the down side, it was steep to attend (I could only afford a day), and you could have flown to LA for the Screenwriting Expo for pretty much the same cost.
Also, charging for the podcasts is outrageous when you can get better podcasts on the internet for free (hello Creative Screenwriting and Sam & Jim). But the UK scene definitely needs something like this, and the festival looks to become a regular fixture on the screenwriting calendar.
Best Event I Didn’t Attend - FrightFest. Scheduling clashes abound meant I missed the premiere of Severance and other top films.
Highlight of the Year - Writing an episode for The Amazing Adrenalini Brothers for CiTV. The show recently won a Bafta for Best Children’s Animation.
Disappointing Moment of the Year - Finally hearing from EastEnders only to be told ‘sorry, maybe next year’.
Best Rejection - One of my scripts was taken to Robert Zemeckis by a contact I made in Cannes but "Bob" eventually decided that it wasn't for him. The rejection sends a flutter of excitement through my body as it's like meeting your maker (I didn't actually meet him) only to be told you need another go on Earth before you get the gig.
In my fantasy version of events, "Bob" read the script (not one of his readers, no sir) and "Steve" Spielberg dropped by for a coffee: "Hey Bob, watcha reading?" "Oh, this great script. It's not for me, but let me read you this great line from page 35."
Like, it could have happened...
Reasons to be Cheerful - Awaiting to hear about potential TV commissions and other projects, and healthy interest in my writing in general.
Best Part about Blogging - Meeting new friends and colleagues, knowing that they’re sharing the same highs and lows, whether or not you’re trying to break in, or just trying to get on.
Rabu, 20 Desember 2006
Note to Producer
Back in September, I spoke about the ‘note to reader’ where a script reader’s attention on the script at hand would suddenly be distracted by a line directly aimed at him: “keep an open mind reader, this is unconventional but it works”. This has the opposite effect on readers. Instead of them focusing on your script with an open mind, they’re thinking ‘what a load of presumptuous rubbish’ as they go through page after page.
Writers aren’t the only offenders. No, sir. Producers have a lazy knack of stamping their enthusiastic opinion on their intro letter to the script before you’ve even had a chance to pick it up. This is understandable. The producer has to believe in the project, and wants to pitch it well, and to be fair, the note only appears on the cover letter, not on the script itself.
However, the passionate assertions need to be chosen wisely. Far too often the producer’s opinion of the script will read like false quotes on a movie poster: “One of the most exciting and original scripts I’ve ever read”. “An amazing story, powerful and emotional”. “This has Oscar written all over it.” “We have approached a number of high profile actors for the lead role”. So, just like writers and producers who shouldn’t slip in a discreet ‘note to reader’, here’s a small bit of advice for you: don’t be outlandish in your opinion of the script.
In my script reading spree this month, I read two scripts that, according to the (separate) producers, were the most exciting and original scripts ever written. In reality, one script was well-written but only got a ‘consider’ for the writer (who turned out to be a graduate of some Disney programme, possibly the Nicholl). The other one made me laugh so much (unfortunately, it wasn’t a comedy), it still makes me titter when I think about it now because of its ridiculous premise and story line (written by a D-list actor).
The bottom line is this: any exaggerated comments from a producer’s covering letter is going to affect the reader’s approach to the script. A sense of dread and concern will seize the brain at the tentative start of page one. And when the script turns out NOT to be the most original and exciting story ever written, it only reflects badly on the producer trying to pitch the project.
Of course, script readers aren’t meant to receive the covering letters but it makes no difference really. They’d still think the script was rubbish but if they’re told it’s brilliant beforehand, then they’re just going to think it’s god-damn-awful. And receiving the full pitching package (letter, treatment, script, visuals) is becoming more of a regular occurrence.
I have noticed that the exuberant claims of brilliance usually come from new or recent producers. They may be making the first step from the world of shorts to features, or have a well-received low-budget flick to their name, or think they have a ‘good relationship’ with the exec they’re approaching, so they slip into casual but excited mode.
More experienced producers will not make such outlandish declarations about their script. They’ll simply say: “here’s the script, Actor X has just signed on, see what you think”. Or might go as far to say: “here’s something I think you’ll like”, which is a generic cliché really, so isn’t strictly necessary.
This advice applies to writers who are approaching producers/execs themselves. In your covering letter, you may be tempted to state what you believe the script is like, and why it’s so great (I have done this myself), but it’s not a good tactic. Give them your intro paragraph (‘we recently emailed/talked on the phone etc’), then give them the logline of your script, don’t say anything else except maybe ‘I look forward to hearing from you in due course’.
So writers and producers, no more misleading or misguided comments about your script, to anyone, anymore. Let the script do all the talking.
Writers aren’t the only offenders. No, sir. Producers have a lazy knack of stamping their enthusiastic opinion on their intro letter to the script before you’ve even had a chance to pick it up. This is understandable. The producer has to believe in the project, and wants to pitch it well, and to be fair, the note only appears on the cover letter, not on the script itself.
However, the passionate assertions need to be chosen wisely. Far too often the producer’s opinion of the script will read like false quotes on a movie poster: “One of the most exciting and original scripts I’ve ever read”. “An amazing story, powerful and emotional”. “This has Oscar written all over it.” “We have approached a number of high profile actors for the lead role”. So, just like writers and producers who shouldn’t slip in a discreet ‘note to reader’, here’s a small bit of advice for you: don’t be outlandish in your opinion of the script.
In my script reading spree this month, I read two scripts that, according to the (separate) producers, were the most exciting and original scripts ever written. In reality, one script was well-written but only got a ‘consider’ for the writer (who turned out to be a graduate of some Disney programme, possibly the Nicholl). The other one made me laugh so much (unfortunately, it wasn’t a comedy), it still makes me titter when I think about it now because of its ridiculous premise and story line (written by a D-list actor).
The bottom line is this: any exaggerated comments from a producer’s covering letter is going to affect the reader’s approach to the script. A sense of dread and concern will seize the brain at the tentative start of page one. And when the script turns out NOT to be the most original and exciting story ever written, it only reflects badly on the producer trying to pitch the project.
Of course, script readers aren’t meant to receive the covering letters but it makes no difference really. They’d still think the script was rubbish but if they’re told it’s brilliant beforehand, then they’re just going to think it’s god-damn-awful. And receiving the full pitching package (letter, treatment, script, visuals) is becoming more of a regular occurrence.
I have noticed that the exuberant claims of brilliance usually come from new or recent producers. They may be making the first step from the world of shorts to features, or have a well-received low-budget flick to their name, or think they have a ‘good relationship’ with the exec they’re approaching, so they slip into casual but excited mode.
More experienced producers will not make such outlandish declarations about their script. They’ll simply say: “here’s the script, Actor X has just signed on, see what you think”. Or might go as far to say: “here’s something I think you’ll like”, which is a generic cliché really, so isn’t strictly necessary.
This advice applies to writers who are approaching producers/execs themselves. In your covering letter, you may be tempted to state what you believe the script is like, and why it’s so great (I have done this myself), but it’s not a good tactic. Give them your intro paragraph (‘we recently emailed/talked on the phone etc’), then give them the logline of your script, don’t say anything else except maybe ‘I look forward to hearing from you in due course’.
So writers and producers, no more misleading or misguided comments about your script, to anyone, anymore. Let the script do all the talking.
Senin, 18 Desember 2006
Screenwriting Essentials
I once overheard an Irish guy say that the essentials in life were “sugar and tay” (sugar and tea), which makes me chuckle every time I think of it, and I can no longer say ‘sugar and tea’ without reverting to the strong Irish accent/stereotype. The reason I’m telling you this is because James Newton, friend of the blog, got in touch to ask about “screenwriting essentials”.
First, “do you use any database software to track your scripts / contacts / letters / follow ups etc? Personally, I haven't been able to find anything out there that does this so I've ended up customising Microsoft Access. I'm just looking to see if there are any killer features I should/could incorporate into mine.”
Next, screenwriting essentials themselves: “we all know that you really only need a pen and paper but as you progress you find that these are never enough. If you are thinking about carving out a career in scriptwriting what would you deem to be the essentials that you couldn't live without?”
In response to the first query: I don’t know, or know of, a database software to track your scripts. It sounds good but I find my memory serves me well, as does the ‘Sent Items’ folder in Outlook, and my various files on Microsoft Word. And agents usually have a file of where everything’s been or has been sent out, so need need to worry there.
Unfortunately, I’m still stuck in the 20th century when it comes to the latest software and computer technology so while using Microsoft Access sounds inviting, maybe someone else could provide the right kind of pointers in the comments section below.
Now, onto the main event. Sharing your ‘Screenwriting Essentials’. This is a good idea. Here’s a list of James’s:
1. Final Draft.
2. Broadband Internet - for research and watching films online.
3. A never ending supply of Black and Red books for meetings etc.
4. A whiteboard for listing current projects and stages of development. A constant visual reminder away from the PC.
5. A spare printer toner at all times.
6. Subscriptions to Screen International, Sight and Sound, & industry blogs.
7. Visual Thesaurus.
8. A large pile of index cards and a board to stick them on.
9. A USB memory stick to backup scripts.
10. My new contacts database.
11. Time, procrastination and caffeine.
That’s a great list, and offers interesting practical suggestions for any screenwriter’s routine. I didn’t know of Visual Thesaurus before, and I always curse myself for not having that spare printer toner to hand when I need it.
My list is more basic:
1. A computer with broadband access, and a printer (backing up files a MUST).
2. Screenwriting books that you actually value for their inspiration and insight.
3. Ditto with your favourite screenwriting magazines.
4. Screenplays, printed out, to read for inspiration, entertainment or procrastination.
5. Final Draft
Er, that’s it. Everything else is dealt with as they crop up or whatever’s needed at the time. I don’t think Final Draft is necessary an “essential” but it has become extremely useful for the convenience it affords in immediately formatting scripts. The tools and features are good but I don’t really use them. While I would rather not do without my Final Draft, it’s not indispensable, and you can simply use the right font and margins in MS Word instead (and for a lot cheaper too!).
I have a corkboard to outline story, and a smaller whiteboard to remind me what projects are on the go, but again, I don’t consider it as an ‘essential’ as I vary the process from script to script. My office seems to be in a continuous state of disarray and momentum, so I don’t feel the need to be overly tidy or anal in my organisational habits.
But it’s good to get people’s takes on what screenwriting essentials are needed to either establish a good routine, or to get ahead with your career. Feel free to share your list, it’d be great to get a peek at what everyone does or does not do…
First, “do you use any database software to track your scripts / contacts / letters / follow ups etc? Personally, I haven't been able to find anything out there that does this so I've ended up customising Microsoft Access. I'm just looking to see if there are any killer features I should/could incorporate into mine.”
Next, screenwriting essentials themselves: “we all know that you really only need a pen and paper but as you progress you find that these are never enough. If you are thinking about carving out a career in scriptwriting what would you deem to be the essentials that you couldn't live without?”
In response to the first query: I don’t know, or know of, a database software to track your scripts. It sounds good but I find my memory serves me well, as does the ‘Sent Items’ folder in Outlook, and my various files on Microsoft Word. And agents usually have a file of where everything’s been or has been sent out, so need need to worry there.
Unfortunately, I’m still stuck in the 20th century when it comes to the latest software and computer technology so while using Microsoft Access sounds inviting, maybe someone else could provide the right kind of pointers in the comments section below.
Now, onto the main event. Sharing your ‘Screenwriting Essentials’. This is a good idea. Here’s a list of James’s:
1. Final Draft.
2. Broadband Internet - for research and watching films online.
3. A never ending supply of Black and Red books for meetings etc.
4. A whiteboard for listing current projects and stages of development. A constant visual reminder away from the PC.
5. A spare printer toner at all times.
6. Subscriptions to Screen International, Sight and Sound, & industry blogs.
7. Visual Thesaurus.
8. A large pile of index cards and a board to stick them on.
9. A USB memory stick to backup scripts.
10. My new contacts database.
11. Time, procrastination and caffeine.
That’s a great list, and offers interesting practical suggestions for any screenwriter’s routine. I didn’t know of Visual Thesaurus before, and I always curse myself for not having that spare printer toner to hand when I need it.
My list is more basic:
1. A computer with broadband access, and a printer (backing up files a MUST).
2. Screenwriting books that you actually value for their inspiration and insight.
3. Ditto with your favourite screenwriting magazines.
4. Screenplays, printed out, to read for inspiration, entertainment or procrastination.
5. Final Draft
Er, that’s it. Everything else is dealt with as they crop up or whatever’s needed at the time. I don’t think Final Draft is necessary an “essential” but it has become extremely useful for the convenience it affords in immediately formatting scripts. The tools and features are good but I don’t really use them. While I would rather not do without my Final Draft, it’s not indispensable, and you can simply use the right font and margins in MS Word instead (and for a lot cheaper too!).
I have a corkboard to outline story, and a smaller whiteboard to remind me what projects are on the go, but again, I don’t consider it as an ‘essential’ as I vary the process from script to script. My office seems to be in a continuous state of disarray and momentum, so I don’t feel the need to be overly tidy or anal in my organisational habits.
But it’s good to get people’s takes on what screenwriting essentials are needed to either establish a good routine, or to get ahead with your career. Feel free to share your list, it’d be great to get a peek at what everyone does or does not do…
Kamis, 14 Desember 2006
Gangs of New Yorke
You’ve probably seen this already but the Tony Doyle Bursary is open again for submissions. I was the last person to win this two years ago (hurrah!) and it’s a really great prize. Not only do you get 2,000 beans for your wallet (cash, not real beans, I bought a laptop and an iPod), you get to spend the weekend with the BBC Northern Ireland development team as well as a few specially invited guests.
What’s doubly great about the weekend is that it’s spent in an exclusive artists’ retreat in the middle of nowhere, ahem, the middle of Ireland. There’s no television or telephone or any other kind of distraction, just peace and quiet in a picturesque setting. So, it becomes an intensive workshop where the BBC NI staff and guests take you through the ins and outs of good TV writing.
Those attending at my weekend were Patrick Spence, head of BBC NI drama. He spoke with genuine passion and surprising honesty about himself and the business. I liked him a lot. Deirdre Alexander, script editor, who coordinated the bursary that year. She was great; she now works for BBC NI comedy. Sarah Stack, another script editor, no relation, but obviously with us sharing the same name, we got on like a house on fire. Amanda Verlaque, script editor, also fantastic; she's moved on to Scottish soap, River City. Tania Nash, radio producer, fab, now producing EastEnders. TV writer Ashley Pharoah, lovely man. John Yorke, who was still at Channel 4 at the time; brilliant. Sally Doyle, wife of the late Tony Doyle; a classy lady. Three other writers made the group - Ruth McCracken, Martin O’Brien and Colm McManus - and we shared long nights drinking wine at the dinner table. (I haven’t forgotten anyone, have I?)
Patrick Spence did a marvellous deconstruction of NYPD Blue. Ashley Pharoah took us through the structural delights of Deliverance. And possibly best of all, John Yorke gave us a masterclass in creating and writing successful TV drama series.
He did an interesting exercise with us. He got us to list all our favourite drama series on one side of a flipchart, and on the other side, all our least favourite or unsuccessful drama series. That was fun. Then, he got us to list the positive qualities of the successful series and the negative aspects of the stinkers. Now it got interesting. We all gave our reasons: good idea, original voice, interesting characters, good actors etc, as opposed to the ‘bad’ series: crap idea, committee-led, cardboard characters, and so on.
However, John told us that we were missing one vital ingredient for a successful returning series to work. ‘Returning series’ are much sought after by the Beeb and ITV as the shows can run and run forever (“okay, that's episode 6, but what happens in episode 56? ep 106?" etc), while “serials” tell a finite story over a six-ten part run or whatever (State of Play, State Within, Our Friends in the North etc). So what’s the vital ingredient that’s going to make a returning series tick? We tried to guess but we didn’t come up with the answer, so John put us out of our misery:
GANGS.
All successful returning series have a 'gang' element to drive the series and keep it focused. Y'know, a group of friends, or detectives, or a family, or whatever. And here's the good thing about it: the gang can be changed (when actors leave the show after a while for example) and replaced by new members who fill the required role in the gang, etc. Neat, eh? And blindingly obvious too, so we were kicking ourselves for not thinking of it sooner.
So, if you’re sitting down to come up with the next hit drama series, then think about your ‘gang’. It may seem annoying and prescriptive to think in this way but it’s not, it makes perfect sense, and can be illuminating in the process of figuring out if your idea is a series or serial (or neither) in the first place.
What’s doubly great about the weekend is that it’s spent in an exclusive artists’ retreat in the middle of nowhere, ahem, the middle of Ireland. There’s no television or telephone or any other kind of distraction, just peace and quiet in a picturesque setting. So, it becomes an intensive workshop where the BBC NI staff and guests take you through the ins and outs of good TV writing.
Those attending at my weekend were Patrick Spence, head of BBC NI drama. He spoke with genuine passion and surprising honesty about himself and the business. I liked him a lot. Deirdre Alexander, script editor, who coordinated the bursary that year. She was great; she now works for BBC NI comedy. Sarah Stack, another script editor, no relation, but obviously with us sharing the same name, we got on like a house on fire. Amanda Verlaque, script editor, also fantastic; she's moved on to Scottish soap, River City. Tania Nash, radio producer, fab, now producing EastEnders. TV writer Ashley Pharoah, lovely man. John Yorke, who was still at Channel 4 at the time; brilliant. Sally Doyle, wife of the late Tony Doyle; a classy lady. Three other writers made the group - Ruth McCracken, Martin O’Brien and Colm McManus - and we shared long nights drinking wine at the dinner table. (I haven’t forgotten anyone, have I?)
Patrick Spence did a marvellous deconstruction of NYPD Blue. Ashley Pharoah took us through the structural delights of Deliverance. And possibly best of all, John Yorke gave us a masterclass in creating and writing successful TV drama series.
He did an interesting exercise with us. He got us to list all our favourite drama series on one side of a flipchart, and on the other side, all our least favourite or unsuccessful drama series. That was fun. Then, he got us to list the positive qualities of the successful series and the negative aspects of the stinkers. Now it got interesting. We all gave our reasons: good idea, original voice, interesting characters, good actors etc, as opposed to the ‘bad’ series: crap idea, committee-led, cardboard characters, and so on.
However, John told us that we were missing one vital ingredient for a successful returning series to work. ‘Returning series’ are much sought after by the Beeb and ITV as the shows can run and run forever (“okay, that's episode 6, but what happens in episode 56? ep 106?" etc), while “serials” tell a finite story over a six-ten part run or whatever (State of Play, State Within, Our Friends in the North etc). So what’s the vital ingredient that’s going to make a returning series tick? We tried to guess but we didn’t come up with the answer, so John put us out of our misery:
GANGS.
All successful returning series have a 'gang' element to drive the series and keep it focused. Y'know, a group of friends, or detectives, or a family, or whatever. And here's the good thing about it: the gang can be changed (when actors leave the show after a while for example) and replaced by new members who fill the required role in the gang, etc. Neat, eh? And blindingly obvious too, so we were kicking ourselves for not thinking of it sooner.
So, if you’re sitting down to come up with the next hit drama series, then think about your ‘gang’. It may seem annoying and prescriptive to think in this way but it’s not, it makes perfect sense, and can be illuminating in the process of figuring out if your idea is a series or serial (or neither) in the first place.
Senin, 11 Desember 2006
Script Reading Commandments
1. Thou Shalt Read The Script in Its Entirety
When you’re reading a poor script, your mind will naturally wander and your attention will stray so try to stay focused as you don’t want to miss any important plot detail that will impede your ability to write up a good synopsis later.
2. Pitch it, Baby
Writing a good logline will tell you, and the exec, whether the script is actually a film or not. Trying to sum up the script you’ve just read in one or two sentences can sometimes take longer than any other part of the report, but it’s worth it.
A broad sweep of the premise and the story is more suitable than a basic description of the concept. The following (flexible) template works particularly well in getting all you need to get across: “It’s about A CHARACTER who WANTS SOMETHING/HAS A GOAL but CONFLICT and WHAT HE DOES TO OVERCOME CONFLICT.”
3. Thou Shalt Write a Good Synopsis
Your synopsis may contain more narrative flair than the script itself but hey, you’re a writer too, so be respectful to the plot (no matter how poor) and don't describe the script ‘beat by beat’. Avoid long sentences. This will be hugely appreciated by the execs, as they’re always looking for concise, clear and well-written reports, especially the synopses. It makes their job so much easier. You might make the story sound good but you can always rip it to pieces later in the ‘comments’ section.
4. Be Harsh, but Fair; Be Cruel, but Kind
Scathing criticism has become a trademark style for readers everywhere but it’s important to stay objective and not just trash a script because you feel like it. If something is terrible, you have to give sound reasoning as to why it’s so bad, and offer valid critical comment on the style and detail of the script.
Even the most turgid of screenplays will have some merit, somewhere, so offer a few positive comments, if you can, as it will help the exec be kinder in his rejection letter. Also, the recommendations break down into “Pass”, “Consider” or “Recommend”. There is no “Pass/Consider”. This drives execs nuts. Make up your mind, be decisive.
5. It’s Not About ‘You’
There is no ‘I’ in ‘Reader’ so avoid phrases like: “I don’t think this works” or “I laughed out loud” because the coverage shouldn’t bring attention to the reader, it should be wholly focused on the script. Your comments represent what you think so there’s no need for any first person narrative. Some comments like, “in this reader’s opinion”, are okay because it helps to qualify the balance of critique being offered. Also, don’t try to be too funny, jokey, glib or dismissive. This doesn’t help anyone.
6. Thou Shalt Not Covet the Writer’s Luck
Most script readers are aspiring scriptwriters. They will burn with jealousy and rage when they read an inferior script to their own work that’s been optioned or about to be made. Get over it. You don’t have an agent. Or if you do, then why aren’t your scripts being covered by other readers around town? Or ask yourself why that particular script is getting made, despite being shite?
7. All Scripts are the Same, but Some are more Samey than Others
A lot of scripts follow the generalised style of screenwriting and so-called rules of the game. This can make them feel very ordinary and mediocre, despite one or two promising ideas or glimpses of talent from the writer. However, the never-ending pile of samey scripts will diminish your optimism about ever reading a good script again. Try to remain patient and positive. Good scripts, and good writers, are out there. They’re just hard to see in the crowd.
8. All Reports are the Same, but Don’t get Sucked into Routine
The dearth of samey scripts will have you regurgitating typical phrases and observations from report to report. You’ll develop stock-phrases and neat expressions that will lie conveniently at hand, and/or will make you look witty. You’re a writer so shake it up a bit, develop a good style, but remember ‘Commandment No. 5’.
9. Thou Shalt Not Complain
Like a pre-Jedi Luke Skywalker whingeing about buying a power converter, a novice reader will moan about the amount of scripts he has to read, and the pitiful price he’s getting for the privilege. Hey, no-one asked you to be a reader, you asked them, remember? You’re in a lucky position really, so just get on with it.
10. Never Miss a Deadline
If you accept a particularly heavy workload, then make sure you can get the reports done in time. If you accept a ‘fast turnaround’ script (overnight report), ask the exec what time, at the latest, does he need the coverage by. It’s quite common to be called up at the last minute and asked to read a 600 page book or a script in an overnight stint. You won’t want to say ‘No’ because you want to appear reliable and flexible, but if you can’t fit it in, then say so.
11. Don’t Wear Yourself Out
Everything about the movie business is turned up to eleven, and that means that your reading workload will sometimes get the better of you as the scripts pile up in your in-box. Reading two-four scripts per week should be more than manageable, especially if you have a proper full or part-time job.
As a jobbing freelancer, reading four or more scripts should be okay but if it becomes a regular fix, it might wear you out with the time and demand that the reading requires. Try to accommodate it as you see fit but remember that familiarity breeds contempt, and the quality of your coverage will suffer as you become more cynical and dismissive of every script you read.
When you’re reading a poor script, your mind will naturally wander and your attention will stray so try to stay focused as you don’t want to miss any important plot detail that will impede your ability to write up a good synopsis later.
2. Pitch it, Baby
Writing a good logline will tell you, and the exec, whether the script is actually a film or not. Trying to sum up the script you’ve just read in one or two sentences can sometimes take longer than any other part of the report, but it’s worth it.
A broad sweep of the premise and the story is more suitable than a basic description of the concept. The following (flexible) template works particularly well in getting all you need to get across: “It’s about A CHARACTER who WANTS SOMETHING/HAS A GOAL but CONFLICT and WHAT HE DOES TO OVERCOME CONFLICT.”
3. Thou Shalt Write a Good Synopsis
Your synopsis may contain more narrative flair than the script itself but hey, you’re a writer too, so be respectful to the plot (no matter how poor) and don't describe the script ‘beat by beat’. Avoid long sentences. This will be hugely appreciated by the execs, as they’re always looking for concise, clear and well-written reports, especially the synopses. It makes their job so much easier. You might make the story sound good but you can always rip it to pieces later in the ‘comments’ section.
4. Be Harsh, but Fair; Be Cruel, but Kind
Scathing criticism has become a trademark style for readers everywhere but it’s important to stay objective and not just trash a script because you feel like it. If something is terrible, you have to give sound reasoning as to why it’s so bad, and offer valid critical comment on the style and detail of the script.
Even the most turgid of screenplays will have some merit, somewhere, so offer a few positive comments, if you can, as it will help the exec be kinder in his rejection letter. Also, the recommendations break down into “Pass”, “Consider” or “Recommend”. There is no “Pass/Consider”. This drives execs nuts. Make up your mind, be decisive.
5. It’s Not About ‘You’
There is no ‘I’ in ‘Reader’ so avoid phrases like: “I don’t think this works” or “I laughed out loud” because the coverage shouldn’t bring attention to the reader, it should be wholly focused on the script. Your comments represent what you think so there’s no need for any first person narrative. Some comments like, “in this reader’s opinion”, are okay because it helps to qualify the balance of critique being offered. Also, don’t try to be too funny, jokey, glib or dismissive. This doesn’t help anyone.
6. Thou Shalt Not Covet the Writer’s Luck
Most script readers are aspiring scriptwriters. They will burn with jealousy and rage when they read an inferior script to their own work that’s been optioned or about to be made. Get over it. You don’t have an agent. Or if you do, then why aren’t your scripts being covered by other readers around town? Or ask yourself why that particular script is getting made, despite being shite?
7. All Scripts are the Same, but Some are more Samey than Others
A lot of scripts follow the generalised style of screenwriting and so-called rules of the game. This can make them feel very ordinary and mediocre, despite one or two promising ideas or glimpses of talent from the writer. However, the never-ending pile of samey scripts will diminish your optimism about ever reading a good script again. Try to remain patient and positive. Good scripts, and good writers, are out there. They’re just hard to see in the crowd.
8. All Reports are the Same, but Don’t get Sucked into Routine
The dearth of samey scripts will have you regurgitating typical phrases and observations from report to report. You’ll develop stock-phrases and neat expressions that will lie conveniently at hand, and/or will make you look witty. You’re a writer so shake it up a bit, develop a good style, but remember ‘Commandment No. 5’.
9. Thou Shalt Not Complain
Like a pre-Jedi Luke Skywalker whingeing about buying a power converter, a novice reader will moan about the amount of scripts he has to read, and the pitiful price he’s getting for the privilege. Hey, no-one asked you to be a reader, you asked them, remember? You’re in a lucky position really, so just get on with it.
10. Never Miss a Deadline
If you accept a particularly heavy workload, then make sure you can get the reports done in time. If you accept a ‘fast turnaround’ script (overnight report), ask the exec what time, at the latest, does he need the coverage by. It’s quite common to be called up at the last minute and asked to read a 600 page book or a script in an overnight stint. You won’t want to say ‘No’ because you want to appear reliable and flexible, but if you can’t fit it in, then say so.
11. Don’t Wear Yourself Out
Everything about the movie business is turned up to eleven, and that means that your reading workload will sometimes get the better of you as the scripts pile up in your in-box. Reading two-four scripts per week should be more than manageable, especially if you have a proper full or part-time job.
As a jobbing freelancer, reading four or more scripts should be okay but if it becomes a regular fix, it might wear you out with the time and demand that the reading requires. Try to accommodate it as you see fit but remember that familiarity breeds contempt, and the quality of your coverage will suffer as you become more cynical and dismissive of every script you read.
Rabu, 06 Desember 2006
Story Vault: How to be a Reader
Of course, you could always check out a post from the past while I'm busy doing script reports. As the blog readership steadily grows (recently passed 100,000 hits, thanks for reading!), a lot of you will have missed some of my musings and rumblings in what I'm calling my 'story vault' area.
And so, here's one from last October: how to be a script reader. Even though it's linked at the side, it's still the most commonly asked question I receive in emails, bribes and shady brown envelopes. So here it is again:
"The role of a script reader is a thankless and anonymous task but every production company will tell you that they are vital to the submission pile and to some extent, the development process. Producers and development executives simply don’t have the time to read every script that comes in the door and they rely squarely on the reader’s report and recommendation.
All the readers I know or have met are usually involved in the industry in another similar respect, such as script editor or writer, so they have a full and frank appreciation of what a screenplay should epitomise. These are the readers who are consistently regarded and relied upon because the other readers who come and go are invariably interns or people looking to get to the next stage of their career or wannabe writers who want to read just a couple of scripts and then go on their way.
To be a reputable script reader, it takes more than attending a course about ‘how to read a script’ and a bit more dedication than reading for a few weeks just to get the hang of it and make a few contacts. Readers new to the process have complained to me that it takes up too much time and it pays too little (roughly about four hours’ work @ £40 a script). And others moan that they’ve read too much that week but the scripts still keep on coming.
Well, it does take up time and it does pay whack but the execs have a never ending spec pile that needs to get covered, so the work has to be done regardless of who does it. They don’t care as long as the script gets read but they’ll always lean on the more reliable readers if someone’s going to let them down.
I’ve received a few emails lately about how to become a script reader in this country. Fun Joel and Scott the Reader have written excellent posts about how to become a reader (check the links) and even though they are writing with an American slant, what they say is pretty much how it pans out here in the UK.
Still, it seems worth repeating, so I thought I’d reiterate here but make it more interesting by explaining how I did it:-
I had done a lot of sitcom and sketch reports in my job at the Channel 4 comedy dept but when I left, I asked an assistant at Film4 if I could read a couple of feature scripts so I could assemble ‘sample coverage’. I then wrote to a number of production companies around town asking if I could read for them. I didn’t hear back from a lot of them, and I got rejections from most. Now while I was lucky to have the Film4 contact from my Channel 4 job, no-one else in the film industry had a clue who I was, so what I was doing was no different if I was straight off the ferry from Ireland.
One of Tiger Aspect Pictures’ readers left to do some other job and my letter (actually it was an email) managed to land just at the right time. They were fresh from their Billy Elliot success and were receiving a lot of submissions. I met the Head of Development and she gave me a regular supply of 4-6 scripts to read a week, and the occasional book. They produced Billy Elliot with Working Title 2 and said they’d recommend me to them as ‘there was always a lack of good readers’.
After a while, I couldn’t afford to live on Tiger Aspect’s scripts alone so I contacted WT2 myself and again, the luck of the Irish, one of their readers had taken a job on Ali G’s film so they needed someone else. Me!
I then went for a development assistant job at Miramax which I didn’t get but I cheekily suggested that I script read for them instead and they said ‘yes’. Working Title then recommended me to Pathé Pictures and I read for their acquisition and development departments - the acquisition stuff giving me a chance to read the classier style of script, or at least, the ones that were actually getting made.
All of this meant that I was (am) at home a lot of the time, reading scripts and scribbling reports (not to mention writing my own scripts). Because of my passion and obsession with everything to do with screenwriting, this work came fairly easily to me. Sure, it was frustrating and lonely at times but all the while I knew it was worth it for the sake of my own writing and to maintain a continual source of active contact with the industry, however minimal.
It is this type of dedication and commitment that execs and producers are after with their readers. They want people who know how to read a script and more importantly, they like readers who can articulate a synopsis with insightful comments to match. They don’t want glib, dismissive, cynical or superficial reports that bring more attention to the reader rather than the script they’re covering. It’s all about the script, and is the writer worth a mention. The reader remains thankless, anonymous and on to the next script.*
I was extremely lucky to get the Film4 samples done but if you don’t have this kind of access to the industry, it can still be done with the right approach and - cliché police, pull over - being at the right time at the right place. My best advice to someone who wants to be a reader and has no prior experience is to approach agents and/or production companies, and offer to read their scripts free for two weeks. This will give you enough time to gather a range of sample script reports. After that, the production companies may pay you to continue reading for them (agents won't) and if they don't, you'll be able to approach other pro co's with your sample reports in hand.
But if you’re thinking it’ll be a cool gig for a week or month or two, then you’re better off trawling through Drew’s Script-o-Rama for the research you’re after. As a regular reader, you’ll find yourself unwittingly sucked into the routine of dropping off scripts/picking them up. It’ll seem never ending, it’ll sometimes feel not worth it, but for those dedicated to the craft of screenwriting, there’ll be no other option than to continue to read the good, the bad and the ugly. Authors read books, musicians read music, scriptwriters and script editors should read scripts, wherever they can find them.
*Occasionally, the production company may take you to lunch or have drinks with you & the other readers to thank you for all your hard work, so it’s not all bad, and of course, they are pleasant and courteous whenever you drop in. Working Title are the only ones who actually give us poor sods Christmas presents - shame on the rest of you!
And so, here's one from last October: how to be a script reader. Even though it's linked at the side, it's still the most commonly asked question I receive in emails, bribes and shady brown envelopes. So here it is again:
"The role of a script reader is a thankless and anonymous task but every production company will tell you that they are vital to the submission pile and to some extent, the development process. Producers and development executives simply don’t have the time to read every script that comes in the door and they rely squarely on the reader’s report and recommendation.
All the readers I know or have met are usually involved in the industry in another similar respect, such as script editor or writer, so they have a full and frank appreciation of what a screenplay should epitomise. These are the readers who are consistently regarded and relied upon because the other readers who come and go are invariably interns or people looking to get to the next stage of their career or wannabe writers who want to read just a couple of scripts and then go on their way.
To be a reputable script reader, it takes more than attending a course about ‘how to read a script’ and a bit more dedication than reading for a few weeks just to get the hang of it and make a few contacts. Readers new to the process have complained to me that it takes up too much time and it pays too little (roughly about four hours’ work @ £40 a script). And others moan that they’ve read too much that week but the scripts still keep on coming.
Well, it does take up time and it does pay whack but the execs have a never ending spec pile that needs to get covered, so the work has to be done regardless of who does it. They don’t care as long as the script gets read but they’ll always lean on the more reliable readers if someone’s going to let them down.
I’ve received a few emails lately about how to become a script reader in this country. Fun Joel and Scott the Reader have written excellent posts about how to become a reader (check the links) and even though they are writing with an American slant, what they say is pretty much how it pans out here in the UK.
Still, it seems worth repeating, so I thought I’d reiterate here but make it more interesting by explaining how I did it:-
I had done a lot of sitcom and sketch reports in my job at the Channel 4 comedy dept but when I left, I asked an assistant at Film4 if I could read a couple of feature scripts so I could assemble ‘sample coverage’. I then wrote to a number of production companies around town asking if I could read for them. I didn’t hear back from a lot of them, and I got rejections from most. Now while I was lucky to have the Film4 contact from my Channel 4 job, no-one else in the film industry had a clue who I was, so what I was doing was no different if I was straight off the ferry from Ireland.
One of Tiger Aspect Pictures’ readers left to do some other job and my letter (actually it was an email) managed to land just at the right time. They were fresh from their Billy Elliot success and were receiving a lot of submissions. I met the Head of Development and she gave me a regular supply of 4-6 scripts to read a week, and the occasional book. They produced Billy Elliot with Working Title 2 and said they’d recommend me to them as ‘there was always a lack of good readers’.
After a while, I couldn’t afford to live on Tiger Aspect’s scripts alone so I contacted WT2 myself and again, the luck of the Irish, one of their readers had taken a job on Ali G’s film so they needed someone else. Me!
I then went for a development assistant job at Miramax which I didn’t get but I cheekily suggested that I script read for them instead and they said ‘yes’. Working Title then recommended me to Pathé Pictures and I read for their acquisition and development departments - the acquisition stuff giving me a chance to read the classier style of script, or at least, the ones that were actually getting made.
All of this meant that I was (am) at home a lot of the time, reading scripts and scribbling reports (not to mention writing my own scripts). Because of my passion and obsession with everything to do with screenwriting, this work came fairly easily to me. Sure, it was frustrating and lonely at times but all the while I knew it was worth it for the sake of my own writing and to maintain a continual source of active contact with the industry, however minimal.
It is this type of dedication and commitment that execs and producers are after with their readers. They want people who know how to read a script and more importantly, they like readers who can articulate a synopsis with insightful comments to match. They don’t want glib, dismissive, cynical or superficial reports that bring more attention to the reader rather than the script they’re covering. It’s all about the script, and is the writer worth a mention. The reader remains thankless, anonymous and on to the next script.*
I was extremely lucky to get the Film4 samples done but if you don’t have this kind of access to the industry, it can still be done with the right approach and - cliché police, pull over - being at the right time at the right place. My best advice to someone who wants to be a reader and has no prior experience is to approach agents and/or production companies, and offer to read their scripts free for two weeks. This will give you enough time to gather a range of sample script reports. After that, the production companies may pay you to continue reading for them (agents won't) and if they don't, you'll be able to approach other pro co's with your sample reports in hand.
But if you’re thinking it’ll be a cool gig for a week or month or two, then you’re better off trawling through Drew’s Script-o-Rama for the research you’re after. As a regular reader, you’ll find yourself unwittingly sucked into the routine of dropping off scripts/picking them up. It’ll seem never ending, it’ll sometimes feel not worth it, but for those dedicated to the craft of screenwriting, there’ll be no other option than to continue to read the good, the bad and the ugly. Authors read books, musicians read music, scriptwriters and script editors should read scripts, wherever they can find them.
*Occasionally, the production company may take you to lunch or have drinks with you & the other readers to thank you for all your hard work, so it’s not all bad, and of course, they are pleasant and courteous whenever you drop in. Working Title are the only ones who actually give us poor sods Christmas presents - shame on the rest of you!
Minggu, 03 Desember 2006
Old Times
All of a sudden, it feels like the good old days. Or at least, the early days of my green and keen time of being a reader. When you start out as a reader, you're eager to take on as many scripts as possible in order to build your reputation and demonstrate that you're fully reliable.
Most readers breeze in and out by doing two reports a week, maybe going up to four if they're pushed. Most companies like it this way in order to space out who gets to read what, and to receive a variety of coverage in return. But sometimes, the spec pile just builds and builds, until there's a script traffic jam so large that the only way to create some space is to offload the scripts to whoever wants 'em. And so, the beleaguered reader finds himself with double the workload, partly out of necessity, partly because of his inability to say 'no'.
Last week, what started out as a five-script week quickly turned into an eight script charge. One of them was a 'fast turnaround' where you get the script in the evening, last minute, and they want a report by the next morning. These can be frustrating and demanding but they're also interesting and challenging because you don't have time to question your instincts, and the coverage usually comes out honest and illuminating.
When I lived in London, I could finish off whatever reports needed to be done on Friday morning and then I'd toddle off into town in the afternoon to drop the scripts off, and pick up some more. Now that I live in Poole, I don't have that morning-report luxury anymore (because of the two hour train journey) which means I have to have all reports done the day before my travel and return. This might not sound like much but it feels like you're losing a day of work.
For this week, I have taken on five scripts and two books to read but I only have three days in which to get them done, and I'm in London twice, so it's going to be a bit of a rush and a few late nights. This is okay, I knew this when I agreed to take away the scripts, but it means that I may not be blogging as much this week, or in the next couple of weeks, as I try to bash through as many scripts as possible so that I can buy some Christmas presents.
On the script front, there are still exciting things on-the-go, in the pipeline and waiting in the sidelines but as ever, they have their own unique length of orbit around the reply & respond sun of rejection & commission. Never hold your breath. Always crack on with something else. Tis the Season to Make Money so I'm going to get through as many scripts as humanly possible, and come up for air on the other side.
If a Q&A comes in or a Guest Post pops up, I'll be sure to post. See you soon-ish.
Most readers breeze in and out by doing two reports a week, maybe going up to four if they're pushed. Most companies like it this way in order to space out who gets to read what, and to receive a variety of coverage in return. But sometimes, the spec pile just builds and builds, until there's a script traffic jam so large that the only way to create some space is to offload the scripts to whoever wants 'em. And so, the beleaguered reader finds himself with double the workload, partly out of necessity, partly because of his inability to say 'no'.
Last week, what started out as a five-script week quickly turned into an eight script charge. One of them was a 'fast turnaround' where you get the script in the evening, last minute, and they want a report by the next morning. These can be frustrating and demanding but they're also interesting and challenging because you don't have time to question your instincts, and the coverage usually comes out honest and illuminating.
When I lived in London, I could finish off whatever reports needed to be done on Friday morning and then I'd toddle off into town in the afternoon to drop the scripts off, and pick up some more. Now that I live in Poole, I don't have that morning-report luxury anymore (because of the two hour train journey) which means I have to have all reports done the day before my travel and return. This might not sound like much but it feels like you're losing a day of work.
For this week, I have taken on five scripts and two books to read but I only have three days in which to get them done, and I'm in London twice, so it's going to be a bit of a rush and a few late nights. This is okay, I knew this when I agreed to take away the scripts, but it means that I may not be blogging as much this week, or in the next couple of weeks, as I try to bash through as many scripts as possible so that I can buy some Christmas presents.
On the script front, there are still exciting things on-the-go, in the pipeline and waiting in the sidelines but as ever, they have their own unique length of orbit around the reply & respond sun of rejection & commission. Never hold your breath. Always crack on with something else. Tis the Season to Make Money so I'm going to get through as many scripts as humanly possible, and come up for air on the other side.
If a Q&A comes in or a Guest Post pops up, I'll be sure to post. See you soon-ish.
Kamis, 30 November 2006
Gumball Opportunity
Screenwriting competition for Gumball 3000 Feature Film
“The Gumball rally inspires rebelliousness, reckless abandon, exhibitionism, ferocious competitiveness, and a shameless desire to win: all things I cannot condone, but sure as hell are fun!”
Adrien Brody
“With glamorous playboys and supermodels, rock and film stars, and the most eccentric mix of Dr Evil style billionaires and eccentrics all racing 3000 miles in 8 days, ‘what a perfect cover up for what is really taking
place behind the scenes!’”
Maximillion Cooper
Dear Writers
Have you dreamt of writing the next Usual Suspects or Ocean’s Eleven?
Gumball 3000 Films is looking to make that dream a reality. After having successfully produced and released four documentary feature films of our past Gumball 3000 Rallies – the latest 3000 Miles featuring Bam Margera and Tony Hawk on an epic 3000 mile adventure across the globe from London to Los Angeles, we’re now looking to produce a fiction film based on the Gumball 3000 Rally. Think Pulp Fiction crossed with the Thomas Crown Affair rather than Cannonball Run, but fast cars should definitely play an integral role.
Two executive producers already attached include Oscar winning actor Adrien Brody and Gumball 3000 founder Maximillion Cooper. Through our previous films we have also established lasting relationships with independent financiers, all we need now is a script…and that’s where you come in!
We will select 100 writers based on your CV and one page of your work. This can be anything from a short story or synopsis to an excerpt from a treatment or script. You’ve simply got show us you’ve got the skills and passion to be the perfect writer for this project.
These 100 writers will then be asked to write a treatment of their idea for a Gumball feature, the best 3 treatments will be optioned and the writers commissioned to write a first draft of their screenplay. The writer of the best screenplay will then go into development with our production team.
Please email your application, with the attached CV and 1 page example of your work (word or pdf files only please) to scriptwriter@gumball3000.com.
The deadline for submission is the 10th December 2006.
Good luck!
Julie Brangstrup and Patrick Fischer
Gumball 3000 Films
---
Thanks to Sonny for the heads up.
“The Gumball rally inspires rebelliousness, reckless abandon, exhibitionism, ferocious competitiveness, and a shameless desire to win: all things I cannot condone, but sure as hell are fun!”
Adrien Brody
“With glamorous playboys and supermodels, rock and film stars, and the most eccentric mix of Dr Evil style billionaires and eccentrics all racing 3000 miles in 8 days, ‘what a perfect cover up for what is really taking
place behind the scenes!’”
Maximillion Cooper
Dear Writers
Have you dreamt of writing the next Usual Suspects or Ocean’s Eleven?
Gumball 3000 Films is looking to make that dream a reality. After having successfully produced and released four documentary feature films of our past Gumball 3000 Rallies – the latest 3000 Miles featuring Bam Margera and Tony Hawk on an epic 3000 mile adventure across the globe from London to Los Angeles, we’re now looking to produce a fiction film based on the Gumball 3000 Rally. Think Pulp Fiction crossed with the Thomas Crown Affair rather than Cannonball Run, but fast cars should definitely play an integral role.
Two executive producers already attached include Oscar winning actor Adrien Brody and Gumball 3000 founder Maximillion Cooper. Through our previous films we have also established lasting relationships with independent financiers, all we need now is a script…and that’s where you come in!
We will select 100 writers based on your CV and one page of your work. This can be anything from a short story or synopsis to an excerpt from a treatment or script. You’ve simply got show us you’ve got the skills and passion to be the perfect writer for this project.
These 100 writers will then be asked to write a treatment of their idea for a Gumball feature, the best 3 treatments will be optioned and the writers commissioned to write a first draft of their screenplay. The writer of the best screenplay will then go into development with our production team.
Please email your application, with the attached CV and 1 page example of your work (word or pdf files only please) to scriptwriter@gumball3000.com.
The deadline for submission is the 10th December 2006.
Good luck!
Julie Brangstrup and Patrick Fischer
Gumball 3000 Films
---
Thanks to Sonny for the heads up.
Selasa, 28 November 2006
Story Vault: Likes and Dislikes
Unless I get a commission between now and the end of the year (ha! or hmm, you never know), I'm pretty much spending all of my time script reading so I can generate some handy pocket money for Christmas (and why does the tax man visit in January? Has he no tact?).
This week I've got seven scripts to get through but I'm minus one day because I have to go to London on Friday so it means I'll have to keep my head down until the weekend to get it all done. So, while all that non-glamorous stuff is happening, here's a post from the story vaults about script reading "likes and dislikes" from September last year. Haven't read it before? Well, here it is:
"Script readers are a notoriously picky and grumpy bunch because they’re underpaid and overworked. In the UK, the standard fee for ‘coverage’ is £40 - Working Title recently went to £45 (hurrah) - while the top price to receive is £50 (Film Council and a few select production companies). It was £35 for a long, long time. On average, it takes (me) one hour and a half to read a script and one hour to write the coverage. This may take longer if the script is poor, meaning that the reader will struggle to write a synopsis (which is incredibly annoying, I can tell you). Sometimes, even coming up with a decent logline can take forever.
I once read & reviewed a script for Miramax in 1.5 hours flat (they phoned saying ‘where’s the coverage?’ and I went ‘whaddyamean? you want it today?’), which I think may be a record, but I’m sure there are readers out there that can beat that. Thankfully, the speedy coverage I did was for a very good script (easy & entertaining read) and helped me to hit the deadline. Also, I can type very fast. Anyway, the point is, readers work hard. They really try to concentrate and focus on your script, and when it doesn’t deliver, they get disappointed or worse, bloody annoyed.
There are ways to ease their workload and brighten their day. It’s deceptively easy and simple of course but it’s advice oft-repeated but seldom used. There’s no excuse really because there are books dedicated to how the reader’s mindset works. “500 Ways to Beat The Hollywood Scriptreader” tells you that there are least 500 (500! and they’re all true) annoying habits of wannabe writers. I’m probably a bit more forgiving and sympathetic than the normal reader (especially when I started to develop my own writing) but that doesn’t mean that I don’t bristle with annoyance at the more common and quite frankly, inexcusable mistakes that people make.
Let’s start with basic spelling and grammar. It’s a screenplay so there’s a certain flexibility with regard to syntax and expression. That’s a given. But people can’t spell. I can forgive one typo or two, after that it’s unacceptable. My particular pet hate is the regular misuse of ‘their, they’re, there’, ‘it’s, its, it is’, ‘your, you’re’. Honest to god, when a script correctly uses ‘its’ instead of ‘it is’, the quality of the screenplay is always that bit better than a script that doesn’t know its it’s from its whatsits. This is being pedantic and anal I know but in every excellent script I read, there isn’t a blemish amongst them. I think I made this point before. They’re clean, polished and professional. A lot of scripts in the spec market are riddled with poor spelling, sloppy and plain description and a consistent misuse of the Queen’s English.
Format. Everyone knows this one surely? Not so. You don’t even need Final Draft for crying out loud, just whack Courier pt 12 on your Word font and you’re away. Once you’ve checked your margins and dialogue tabs of course.
Craft. Where’s the story? Why am I asleep and it’s only page 15? Is there any structure at all? A lot of writers deride structure but then don’t include any story or causal sense in their own narrative. Why? I’ve already talked about the first ten pages of a script and the more cliché ways to begin your story but I particularly like it when someone opens with an assured sense of TONE and PACE. A friend of mine read one of my scripts once - he’s not a reader or has anything to do with the biz - and he said: “I was on page 60 before I realised it but I was wondering when anything was going to happen”. Which is the best compliment/criticism I've ever received.
Now I’m well aware that being a reader gives you a certain high ground to be dismissive and cynical. If I can dish out the advice, then why aren’t I raking in the bucks with my own work? There’s the rub. It’s not that simple. In my work, I avoid the common mistakes made in screenplays and genuinely try to deliver something that’s fresh, easy to read and entertaining. And I’ve managed to option three scripts, get meetings and pitch for work. But it’s often not enough.
I’ve seen reports of my own scripts which have been scathing and dismissive, just in the same way that my reports on other people’s can be. It’s entirely subjective and it often comes down to your story, what you have to say, that will get a response from a reader/exec. Those who don’t connect to your script can simply apply all the usual screenplay criticisms, usually with some validity (because all scripts need work), and that’s the end of that. It’s hard. It’s frustrating. It’s unfair. So when you’re a new writer and you do manage to write a good script, you can still expect just as much rejection and criticism as when you first typed ‘fade out’. But if you do it professionally, with a clean style and correct format, then you’re one step ahead of thousands of scripts that are already out there.
On a final note: the use of ‘we’, as in ‘we see, we hear’ in the script is another one that divides opinion. Personally, I’m not bothered by its use but, as with anything else, if it’s over used then it becomes a distraction. However, it should be pointed out that everything in your screenplay is what ‘we see’ so there’s an argument that its use is entirely superfluous to your narrative description. More: the use of ‘is’ (as in ‘John is in the car’) and of passive verbs (running, walking, sliding etc). I think these are wholly acceptable but again, don’t overuse."
This week I've got seven scripts to get through but I'm minus one day because I have to go to London on Friday so it means I'll have to keep my head down until the weekend to get it all done. So, while all that non-glamorous stuff is happening, here's a post from the story vaults about script reading "likes and dislikes" from September last year. Haven't read it before? Well, here it is:
"Script readers are a notoriously picky and grumpy bunch because they’re underpaid and overworked. In the UK, the standard fee for ‘coverage’ is £40 - Working Title recently went to £45 (hurrah) - while the top price to receive is £50 (Film Council and a few select production companies). It was £35 for a long, long time. On average, it takes (me) one hour and a half to read a script and one hour to write the coverage. This may take longer if the script is poor, meaning that the reader will struggle to write a synopsis (which is incredibly annoying, I can tell you). Sometimes, even coming up with a decent logline can take forever.
I once read & reviewed a script for Miramax in 1.5 hours flat (they phoned saying ‘where’s the coverage?’ and I went ‘whaddyamean? you want it today?’), which I think may be a record, but I’m sure there are readers out there that can beat that. Thankfully, the speedy coverage I did was for a very good script (easy & entertaining read) and helped me to hit the deadline. Also, I can type very fast. Anyway, the point is, readers work hard. They really try to concentrate and focus on your script, and when it doesn’t deliver, they get disappointed or worse, bloody annoyed.
There are ways to ease their workload and brighten their day. It’s deceptively easy and simple of course but it’s advice oft-repeated but seldom used. There’s no excuse really because there are books dedicated to how the reader’s mindset works. “500 Ways to Beat The Hollywood Scriptreader” tells you that there are least 500 (500! and they’re all true) annoying habits of wannabe writers. I’m probably a bit more forgiving and sympathetic than the normal reader (especially when I started to develop my own writing) but that doesn’t mean that I don’t bristle with annoyance at the more common and quite frankly, inexcusable mistakes that people make.
Let’s start with basic spelling and grammar. It’s a screenplay so there’s a certain flexibility with regard to syntax and expression. That’s a given. But people can’t spell. I can forgive one typo or two, after that it’s unacceptable. My particular pet hate is the regular misuse of ‘their, they’re, there’, ‘it’s, its, it is’, ‘your, you’re’. Honest to god, when a script correctly uses ‘its’ instead of ‘it is’, the quality of the screenplay is always that bit better than a script that doesn’t know its it’s from its whatsits. This is being pedantic and anal I know but in every excellent script I read, there isn’t a blemish amongst them. I think I made this point before. They’re clean, polished and professional. A lot of scripts in the spec market are riddled with poor spelling, sloppy and plain description and a consistent misuse of the Queen’s English.
Format. Everyone knows this one surely? Not so. You don’t even need Final Draft for crying out loud, just whack Courier pt 12 on your Word font and you’re away. Once you’ve checked your margins and dialogue tabs of course.
Craft. Where’s the story? Why am I asleep and it’s only page 15? Is there any structure at all? A lot of writers deride structure but then don’t include any story or causal sense in their own narrative. Why? I’ve already talked about the first ten pages of a script and the more cliché ways to begin your story but I particularly like it when someone opens with an assured sense of TONE and PACE. A friend of mine read one of my scripts once - he’s not a reader or has anything to do with the biz - and he said: “I was on page 60 before I realised it but I was wondering when anything was going to happen”. Which is the best compliment/criticism I've ever received.
Now I’m well aware that being a reader gives you a certain high ground to be dismissive and cynical. If I can dish out the advice, then why aren’t I raking in the bucks with my own work? There’s the rub. It’s not that simple. In my work, I avoid the common mistakes made in screenplays and genuinely try to deliver something that’s fresh, easy to read and entertaining. And I’ve managed to option three scripts, get meetings and pitch for work. But it’s often not enough.
I’ve seen reports of my own scripts which have been scathing and dismissive, just in the same way that my reports on other people’s can be. It’s entirely subjective and it often comes down to your story, what you have to say, that will get a response from a reader/exec. Those who don’t connect to your script can simply apply all the usual screenplay criticisms, usually with some validity (because all scripts need work), and that’s the end of that. It’s hard. It’s frustrating. It’s unfair. So when you’re a new writer and you do manage to write a good script, you can still expect just as much rejection and criticism as when you first typed ‘fade out’. But if you do it professionally, with a clean style and correct format, then you’re one step ahead of thousands of scripts that are already out there.
On a final note: the use of ‘we’, as in ‘we see, we hear’ in the script is another one that divides opinion. Personally, I’m not bothered by its use but, as with anything else, if it’s over used then it becomes a distraction. However, it should be pointed out that everything in your screenplay is what ‘we see’ so there’s an argument that its use is entirely superfluous to your narrative description. More: the use of ‘is’ (as in ‘John is in the car’) and of passive verbs (running, walking, sliding etc). I think these are wholly acceptable but again, don’t overuse."
Senin, 27 November 2006
Bafta Win
The Amazing Adrenalini Brothers scooped up the prize for Best Animation at last night’s Children’s Bafta awards. I was lucky enough to write an episode earlier this year and the show deserves the award because it’s great fun to write, and even more enjoyable to watch. No wonder it’s a hit with kids, students and parents everywhere.
If you haven’t done so already, you should check out what all the fuss is about at their website. As usual, huge congratulations and double-somersaults into a pool of fire to the team at Pesky, creators Dan Chambers, Mark Huckerby and Nick Ostler, all the writers, script editor Andrew Brenner, CiTV and Studio B in Canada. A ‘yahzaa!’ to you all.
Jumat, 24 November 2006
Unsolicited Material Welcome
Want me to read your script? Check out my consultancy page.
---
** UPDATE, JANUARY 2010 **
The list below is pretty much out-of-date. A lot of the production companies have since changed their policy on unsolicited materials. The best resource to find out if companies accept unsolicited material is the Writers' & Artists' Yearbook (website here).
** UPDATE, JANUARY 2010, ENDS **
So, here it is. The first of what will hopefully be an ongoing list of producers and production companies who encourage new writers and are open to unsolicited material in the UK. If any of the companies have been listed incorrectly, or do not accept unsolicited scripts any more, be sure to inform me immediately so I can update the list. The same applies if you come across other companies who have an open-door policy.
Do not use this as a free-for-all bombardment of their time and consideration. Be professional and courteous with your approach. Make sure you fully research their websites and requirements. Seek out all information about their current and previous work. Send them your best scripts, not something you’ve had lying around for a few years. Be prepared, be ready. And if you get a good response or have a positive experience, let us know…
Absolutely Productions: Mainly TV comedy.
Baby Cow: first ten pages plus a synopsis only.
BBC Writersroom
Celtic Films
Ipsofacto Films
Marchmont Films
Phantom Pictures
Panther Pictures
Parallax Independent
Passion Pictures
PFB Motion Pictures: No scripts, send one-page synopsis only in first instance.
Rose Bay Film Productions: Unsolicited scripts (with sae) welcome.
RS Productions
Screenprojex: Film sales and distribution outfit with activities primarily in the independent film sector. Send prelim letter outlining project & CV.
Shooting People: Online pitching available. Subscription required.
SilentSound Films: Synopses considered via email or post.
Sweetheart Films: An intro letter with perhaps a treatment and a short extract would receive consideration.
UK Film Council: Lottery funding available.
World Productions
---
** UPDATE, JANUARY 2010 **
The list below is pretty much out-of-date. A lot of the production companies have since changed their policy on unsolicited materials. The best resource to find out if companies accept unsolicited material is the Writers' & Artists' Yearbook (website here).
** UPDATE, JANUARY 2010, ENDS **
So, here it is. The first of what will hopefully be an ongoing list of producers and production companies who encourage new writers and are open to unsolicited material in the UK. If any of the companies have been listed incorrectly, or do not accept unsolicited scripts any more, be sure to inform me immediately so I can update the list. The same applies if you come across other companies who have an open-door policy.
Do not use this as a free-for-all bombardment of their time and consideration. Be professional and courteous with your approach. Make sure you fully research their websites and requirements. Seek out all information about their current and previous work. Send them your best scripts, not something you’ve had lying around for a few years. Be prepared, be ready. And if you get a good response or have a positive experience, let us know…
Absolutely Productions: Mainly TV comedy.
Baby Cow: first ten pages plus a synopsis only.
BBC Writersroom
Celtic Films
Ipsofacto Films
Marchmont Films
Phantom Pictures
Panther Pictures
Parallax Independent
Passion Pictures
PFB Motion Pictures: No scripts, send one-page synopsis only in first instance.
Rose Bay Film Productions: Unsolicited scripts (with sae) welcome.
RS Productions
Screenprojex: Film sales and distribution outfit with activities primarily in the independent film sector. Send prelim letter outlining project & CV.
Shooting People: Online pitching available. Subscription required.
SilentSound Films: Synopses considered via email or post.
Sweetheart Films: An intro letter with perhaps a treatment and a short extract would receive consideration.
UK Film Council: Lottery funding available.
World Productions
Rabu, 22 November 2006
Pitch On-line?
Do you know of a comprehensive list of production company websites that allow you to pitch ideas etc over the internet? Ipsofacto Films lets you to pich ideas/treatments etc via a web form but figured someone, somewhere must have complied a more comprehensive list...?
The only place I know on the web that allows you to pitch over the internet is Script Pimp, which is for the US, but there's a good few UK companies listed too. There's a subscription fee, surprise, but it's not too expensive, and you can query companies through their email system, or get your script recommended to them via Script Pimp's reading service. It's a neat little number by Chadwick Clough, the guy who runs it, as it guarantees him a living but there's still a wealth of info and contact details on there.
In the UK, I don't know of any similar service. Some production company websites say they'll accept unsolicited material but it's hard to seek them out. Marchmont Films have an open invitation once a year, I think, but there's a deadline (30 September) so make sure to check their website for more details.
There are companies out there, like Ipsofacto Films, who accept unsolicited scripts; you just have to visit their websites randomly to see which ones do or don't. This, obviously, is extremely hit and miss so maybe someone should ask Shooting People if there's a UK list, that might be a good idea... Otherwise, we could start a list here. If you know of any company who accepts unsolicited stuff, leave a comment or drop me an email. I'll collect all the details and post it on the blog.
Also, the Scribosphere is having an official launch of its chat service on Friday, 24th November, so check it out:
"Two chats will take place that day, in order to give the chance to all time zones. The first one will be at 08:00 PST. Make sure you convert the time to your time zone correctly if PST doesn't apply to you.
The second chat will be at 19:00 PST. Same here, make sure you convert correctly to other time zones.
Of course you're invited to join both chats, and actually it would be appreciated if you did. There will hopefully be different people in them, so you'll learn different stuff each time.
There's also going to be a topic for this chat, in order for you to get your thoughts together and share all the knowledge you sit on. The topic this time will be High Concept.
What's high concept?
How do you create high concept?
What movies are good examples of high concept?
Why should you write high concept?
How does high concept help you in the market?
Any general thoughts on high concept?
Since high concept, as many would say, is one of the most important things when it comes to screenwriting, you will hopefully gather new thoughts through this and improve yourself as an writer.
The chat can be found here."
The only place I know on the web that allows you to pitch over the internet is Script Pimp, which is for the US, but there's a good few UK companies listed too. There's a subscription fee, surprise, but it's not too expensive, and you can query companies through their email system, or get your script recommended to them via Script Pimp's reading service. It's a neat little number by Chadwick Clough, the guy who runs it, as it guarantees him a living but there's still a wealth of info and contact details on there.
In the UK, I don't know of any similar service. Some production company websites say they'll accept unsolicited material but it's hard to seek them out. Marchmont Films have an open invitation once a year, I think, but there's a deadline (30 September) so make sure to check their website for more details.
There are companies out there, like Ipsofacto Films, who accept unsolicited scripts; you just have to visit their websites randomly to see which ones do or don't. This, obviously, is extremely hit and miss so maybe someone should ask Shooting People if there's a UK list, that might be a good idea... Otherwise, we could start a list here. If you know of any company who accepts unsolicited stuff, leave a comment or drop me an email. I'll collect all the details and post it on the blog.
Also, the Scribosphere is having an official launch of its chat service on Friday, 24th November, so check it out:
"Two chats will take place that day, in order to give the chance to all time zones. The first one will be at 08:00 PST. Make sure you convert the time to your time zone correctly if PST doesn't apply to you.
The second chat will be at 19:00 PST. Same here, make sure you convert correctly to other time zones.
Of course you're invited to join both chats, and actually it would be appreciated if you did. There will hopefully be different people in them, so you'll learn different stuff each time.
There's also going to be a topic for this chat, in order for you to get your thoughts together and share all the knowledge you sit on. The topic this time will be High Concept.
What's high concept?
How do you create high concept?
What movies are good examples of high concept?
Why should you write high concept?
How does high concept help you in the market?
Any general thoughts on high concept?
Since high concept, as many would say, is one of the most important things when it comes to screenwriting, you will hopefully gather new thoughts through this and improve yourself as an writer.
The chat can be found here."
Senin, 20 November 2006
Giving Up the Dream?
We all know what it takes to ‘live the dream’ if you want to be a successful writer. Give up the day job, focus exclusively on writing, sell your scripts, and live the dream. Or give up the day job, do some part-time work to help pay the bills but spend most of your time writing which will pay off sooner rather than later. The latter is the more popular and practical choice, and the guarantee of basic income while you write is a feasible and enjoyable pursuit.
But what happens when the “sooner rather than later” becomes the “always unattainable”? What happens when you can’t take one more single rejection? What if no agent in town will represent you or your work, but you’ve knocked on all their doors? What happens then? Is it time to call it a day? Do you give up the dream?
‘Giving up’ conjures up negative connotations and a sense of failure when in reality it could mean the opposite, especially if the writing venture has been taken on with professional and focused application. In truth, there is no basic answer to the question of ‘when do you give up the dream?’ as there’s only one person who can make that decision: you. Nevertheless, it’s important to assess the practical, emotional and physical implications of pursuing a writing career.
If you love writing as a hobby, then no-one can tell you to stop, and you won’t want to no matter what happens in your life. However, many choose screenwriting as a lucrative step towards their careers yet the reality of breaking in and sustaining a livelihood is something that is not properly considered by new and eager scribes. A good few will read the books and attend the courses and think: “yes, I can do that” but then get frustrated with the system or the process: “that producer doesn’t know anything” or “writing a script is hard work”.
Those who are more obsessed with screenwriting (like, say, bloggers and the readers of those blogs, hello there) know that it takes a bit more time and hard work to get their work to the required standard. But this too can be demoralising and frustrating, especially when there is no valuable income being earned. It is all too easy to feel like you might be wasting your time or that you simply can not cut it in the industry. And then there are those who are just so stubborn about themselves and their talent that they simply won’t give up, and will keep going until, some day, they get their break.
It’s all down to you and your personal situation. However, there are a few ways to gauge whether you’re ready to call it a day, or if you have what it takes to go further. It involves asking yourself some uncomfortable questions and being completely honest with the answers. Screenwriting, and a screenwriting career, takes time and effort. So much time and so much effort that however hard you think you’ve worked up until this point, you need to double or treble it to be a cut above the rest. It’s demanding and exhausting, and will test your character and talent to the limit.
Many of us have naturally good storytelling instincts but this doesn’t necessarily translate into successful writing. Here are the questions and considerations to take on board which will either reassure you about what lies ahead or make you doubt whether it’s worth sticking at it for a little while longer:
I’m good with story but my scripts haven’t made an impact anywhere yet. Does this mean I’d be a better script editor rather than a writer? Should I consider this type of career instead of potentially wasting my time with my spec scripts?
They say it takes ‘ten years to make it’ as a writer, and it’s a good average, but some positive steps need to occur along the way. In the first five years of pursuing a career as a writer:
Have I optioned one of my scripts with a reputable producer?
Have I won or placed in any script awards?
Have I got an agent?
Have I written or directed a short film?
A radio play?
Or theatre?
Something along those lines that suggest other people value my work and indicates that I’m on the right track…?
Am I reading other people’s scripts and learning more about technique?
Can I genuinely see an improvement in my style of craft and story?
Do I tell stories with commercial potential or are they more personal stories with limited appeal?
Do I know the market/industry well enough to understand how my scripts will be received?
Do I make broad assumptions about the industry and then complain about the system when really I have no first-hand knowledge of what’s going on?
Am I getting tired of it all?
Am I making enough money?
Is it worth it?
Can I do it?
No easy answers to these questions and even the ones that generate a negative response won’t necessarily mean it’s time to jack it all in. It will be a good indicator though on how you’re progressing and what needs to be done to make your writing a more viable choice of career. There are absolutely no guarantees. Talk is not only cheap, it’s free. You can only go so far on encouragement and half-promised deals. Until you’re standing next to a camera and someone’s shouting ‘Action’ on one of your scripts, that’s when you’ve done it, but hopefully have something else lined up.
TV offers a more reliable source of income but breaking in there is just as unreliable and tricky as the world of features. It’s all down to your talent, stamina, determination, luck and commitment. Everyone says they want it more than anything else in the world but if you’re not making any progress, it’s time to ask a few of those questions, and more besides.
It’s not easy, we know this, but I daresay a lot of you will read this and think: “nope, I’m still good to go”. Whether it’s been a few months or a few years, the level of application and talent that’s required needs to be continually held in check to ensure that you’re not slipping into a rut of exhaustion and rejection when your time could be better spent elsewhere.
Close your eyes. Imagine (the new) Wembley Football Ground full to capacity. Say, 100,000 people. Now imagine that the crowd are all screenwriters. These represent the people who were allowed into the ground, the rest are at home watching on TV wishing they were there, or just missed out on getting a ticket. But they plan on being there, somehow, soon, because they know they’ve got the same nous and talent as the others. Don’t they?
But what happens when the “sooner rather than later” becomes the “always unattainable”? What happens when you can’t take one more single rejection? What if no agent in town will represent you or your work, but you’ve knocked on all their doors? What happens then? Is it time to call it a day? Do you give up the dream?
‘Giving up’ conjures up negative connotations and a sense of failure when in reality it could mean the opposite, especially if the writing venture has been taken on with professional and focused application. In truth, there is no basic answer to the question of ‘when do you give up the dream?’ as there’s only one person who can make that decision: you. Nevertheless, it’s important to assess the practical, emotional and physical implications of pursuing a writing career.
If you love writing as a hobby, then no-one can tell you to stop, and you won’t want to no matter what happens in your life. However, many choose screenwriting as a lucrative step towards their careers yet the reality of breaking in and sustaining a livelihood is something that is not properly considered by new and eager scribes. A good few will read the books and attend the courses and think: “yes, I can do that” but then get frustrated with the system or the process: “that producer doesn’t know anything” or “writing a script is hard work”.
Those who are more obsessed with screenwriting (like, say, bloggers and the readers of those blogs, hello there) know that it takes a bit more time and hard work to get their work to the required standard. But this too can be demoralising and frustrating, especially when there is no valuable income being earned. It is all too easy to feel like you might be wasting your time or that you simply can not cut it in the industry. And then there are those who are just so stubborn about themselves and their talent that they simply won’t give up, and will keep going until, some day, they get their break.
It’s all down to you and your personal situation. However, there are a few ways to gauge whether you’re ready to call it a day, or if you have what it takes to go further. It involves asking yourself some uncomfortable questions and being completely honest with the answers. Screenwriting, and a screenwriting career, takes time and effort. So much time and so much effort that however hard you think you’ve worked up until this point, you need to double or treble it to be a cut above the rest. It’s demanding and exhausting, and will test your character and talent to the limit.
Many of us have naturally good storytelling instincts but this doesn’t necessarily translate into successful writing. Here are the questions and considerations to take on board which will either reassure you about what lies ahead or make you doubt whether it’s worth sticking at it for a little while longer:
I’m good with story but my scripts haven’t made an impact anywhere yet. Does this mean I’d be a better script editor rather than a writer? Should I consider this type of career instead of potentially wasting my time with my spec scripts?
They say it takes ‘ten years to make it’ as a writer, and it’s a good average, but some positive steps need to occur along the way. In the first five years of pursuing a career as a writer:
Have I optioned one of my scripts with a reputable producer?
Have I won or placed in any script awards?
Have I got an agent?
Have I written or directed a short film?
A radio play?
Or theatre?
Something along those lines that suggest other people value my work and indicates that I’m on the right track…?
Am I reading other people’s scripts and learning more about technique?
Can I genuinely see an improvement in my style of craft and story?
Do I tell stories with commercial potential or are they more personal stories with limited appeal?
Do I know the market/industry well enough to understand how my scripts will be received?
Do I make broad assumptions about the industry and then complain about the system when really I have no first-hand knowledge of what’s going on?
Am I getting tired of it all?
Am I making enough money?
Is it worth it?
Can I do it?
No easy answers to these questions and even the ones that generate a negative response won’t necessarily mean it’s time to jack it all in. It will be a good indicator though on how you’re progressing and what needs to be done to make your writing a more viable choice of career. There are absolutely no guarantees. Talk is not only cheap, it’s free. You can only go so far on encouragement and half-promised deals. Until you’re standing next to a camera and someone’s shouting ‘Action’ on one of your scripts, that’s when you’ve done it, but hopefully have something else lined up.
TV offers a more reliable source of income but breaking in there is just as unreliable and tricky as the world of features. It’s all down to your talent, stamina, determination, luck and commitment. Everyone says they want it more than anything else in the world but if you’re not making any progress, it’s time to ask a few of those questions, and more besides.
It’s not easy, we know this, but I daresay a lot of you will read this and think: “nope, I’m still good to go”. Whether it’s been a few months or a few years, the level of application and talent that’s required needs to be continually held in check to ensure that you’re not slipping into a rut of exhaustion and rejection when your time could be better spent elsewhere.
Close your eyes. Imagine (the new) Wembley Football Ground full to capacity. Say, 100,000 people. Now imagine that the crowd are all screenwriters. These represent the people who were allowed into the ground, the rest are at home watching on TV wishing they were there, or just missed out on getting a ticket. But they plan on being there, somehow, soon, because they know they’ve got the same nous and talent as the others. Don’t they?
Jumat, 17 November 2006
The name's Purvis, Purvis & Wade
Robert Wade and Neil Purvis have been the main writers for the last three James Bond movies, establishing themselves as the leading, and hottest, UK writers in the industry.
Here, they give an interview to BBC Online about the exciting release of Casino Royale.
Have a great weekend.
Here, they give an interview to BBC Online about the exciting release of Casino Royale.
Have a great weekend.
Kamis, 16 November 2006
Character Description, follow-up
Back in March, Dan Owen asked about US and UK TV spec scripts, and I responded with this. He got in touch again to ask about character descriptions, which I’ve already covered, back in July, here, but he made specific reference to group introductions: “for example, you could meet a family of FIVE people in a scene for the very first time (on a car journey), so are you expected to describe each family member in turn? This could mean quite a chunk of the page being taken up! Or do you describe them once (broadly) and flesh them out later in the script? Or will that bore a reader and be considered overkill?”
This is a good question and seemed deserving of a follow-up post. Group introductions are always tricky as it asks the reader to remember names and details when (usually) nothing has happened in the story to get us interested. You’ve probably seen it yourself:
“LAURA, JANE, HUGH, MARK and MICHAEL walk into the bar. They're all in their early twenties but they’ve been friends since college. Laura’s the leader of the group, attractive and witty, although she’s quite insecure and neurotic underneath it all. Hugh’s the charmer, a keen eye for the ladies, which he’s only using as a cover for his homosexual urges.
Mark’s the shy, quiet type but has bouts of wit and personality; he has a secret crush on Hugh. Michael’s the mysterious one, the kind of person who’d turn out to be a psychopath and everyone would say: “but he seemed so normal”. He’s got a secret crush on Laura.”
If you're meeting a family of FIVE people in a scene for the very first time, I would try to make it as visual as possible, for example:
"In the driver's seat is MOM (38), attractive, her eyes fixed on the road but they make discreet annoyed glances at DAD (40) to her left.
Dad stuffs his face with a packet of crisps, seemingly unaware of his middle-age paunch and his wife's disapproving looks.
In the back, MICHELLE (12) gazes out the window wearing large earphones that pump the Sugababes' greatest hits into her pre-pubescent head.
This helps to block out the din from unruly twins HARRY and MIKE (8) who battle it out with swords, Lord of the Rings style-ee.
Dad turns around to the twins but instead of telling them to shut up, he roars:
DAD:
"I am your father!"
- and proceeds to join in, imitating lame lightsabre noises a lá Star Wars.
Mom's white knuckles grip the wheel even tighter as she drives."
Something along those lines would tell me pretty much everything I need to know about the characters, and that the story is probably going to be about Mom's dissatisfaction with her life and marriage, or will be a part of the story at least.
When introducing a character, or a group of characters, ask yourself: "What's the defining characteristic of this person and how can I dramatise it visually in this moment?" or "What is the most important quality or dynamic that I would like the reader to understand about this character, and how can I dramatise it visually?"
This will help focus the scene because when I used the example above, I thought: family dynamic, Mom's dissatisfied with Dad, daughter's in her own world and twins don't make life any easier, which enabled me to come up with the specific details. There's lots of exposition there but it all comes across visually and hopefully the script reader's paying attention so he doesn't miss the details.
Anybody with any follow-up questions, or new queries, or whatever, feel free to holler. And keep those guest posts coming too, by the way, they’re really popular and you get some free publicity for yourself in the bargain.
Oh, and my good friend Samantha Moore has her recent short film, Doubled Up, on view at BBC Film Newtork. Sam's body of work could be described as offbeat animated documentaries (hope that's a good ballpark, Sam) and Doubled Up is about the shock, and joy, of discovering she was going to have twin boys. Check it out if you have five minutes to spare, and feel free to review and rate it at BBC's site.
This is a good question and seemed deserving of a follow-up post. Group introductions are always tricky as it asks the reader to remember names and details when (usually) nothing has happened in the story to get us interested. You’ve probably seen it yourself:
“LAURA, JANE, HUGH, MARK and MICHAEL walk into the bar. They're all in their early twenties but they’ve been friends since college. Laura’s the leader of the group, attractive and witty, although she’s quite insecure and neurotic underneath it all. Hugh’s the charmer, a keen eye for the ladies, which he’s only using as a cover for his homosexual urges.
Mark’s the shy, quiet type but has bouts of wit and personality; he has a secret crush on Hugh. Michael’s the mysterious one, the kind of person who’d turn out to be a psychopath and everyone would say: “but he seemed so normal”. He’s got a secret crush on Laura.”
If you're meeting a family of FIVE people in a scene for the very first time, I would try to make it as visual as possible, for example:
"In the driver's seat is MOM (38), attractive, her eyes fixed on the road but they make discreet annoyed glances at DAD (40) to her left.
Dad stuffs his face with a packet of crisps, seemingly unaware of his middle-age paunch and his wife's disapproving looks.
In the back, MICHELLE (12) gazes out the window wearing large earphones that pump the Sugababes' greatest hits into her pre-pubescent head.
This helps to block out the din from unruly twins HARRY and MIKE (8) who battle it out with swords, Lord of the Rings style-ee.
Dad turns around to the twins but instead of telling them to shut up, he roars:
DAD:
"I am your father!"
- and proceeds to join in, imitating lame lightsabre noises a lá Star Wars.
Mom's white knuckles grip the wheel even tighter as she drives."
Something along those lines would tell me pretty much everything I need to know about the characters, and that the story is probably going to be about Mom's dissatisfaction with her life and marriage, or will be a part of the story at least.
When introducing a character, or a group of characters, ask yourself: "What's the defining characteristic of this person and how can I dramatise it visually in this moment?" or "What is the most important quality or dynamic that I would like the reader to understand about this character, and how can I dramatise it visually?"
This will help focus the scene because when I used the example above, I thought: family dynamic, Mom's dissatisfied with Dad, daughter's in her own world and twins don't make life any easier, which enabled me to come up with the specific details. There's lots of exposition there but it all comes across visually and hopefully the script reader's paying attention so he doesn't miss the details.
Anybody with any follow-up questions, or new queries, or whatever, feel free to holler. And keep those guest posts coming too, by the way, they’re really popular and you get some free publicity for yourself in the bargain.
Oh, and my good friend Samantha Moore has her recent short film, Doubled Up, on view at BBC Film Newtork. Sam's body of work could be described as offbeat animated documentaries (hope that's a good ballpark, Sam) and Doubled Up is about the shock, and joy, of discovering she was going to have twin boys. Check it out if you have five minutes to spare, and feel free to review and rate it at BBC's site.
Rabu, 15 November 2006
Story Vault: Living the Dream
Thought it might be useful to drag this out of the vault (November 2005) as I'm preparing a post about 'giving up the dream': when to know to call it a day after years of no progress or countless rejections or just plain fatigue. It sounds a bit of a downer but it's not really. But to help you get in the mood, here's the more positive vibe of giving up the day job to follow your dream of being a writer...
---
Q: I was thinking about taking the plunge and going freelance doing some script reading and giving myself time to write. And I was wondering if you had any advice on the matter.
It's very exciting taking the plunge but also very daunting. Getting work as a feature scriptwriter is nigh on impossible in the British market. It takes a lot of graft and years of momentum to get that lucky break (unless you write that great genre script that lands in the right place at the right time: you do hear about people doing this but it’s a bit like getting four or five numbers in the lottery, the real jackpot is the Hollywood sale). There are more opportunities writing for TV but similarly getting into a position where you can be considered for the jobs can prove quite tricky. Getting an agent will help in this area however.
As a start, script reading offers invaluable insight into what people are writing and how they're doing it. Most of the spec scripts are mediocre but the ones being made usually have a certain edge, or quality, or professionalism that is important to recognise and implement in your own work. Basically, when I started reading, I wanted to learn everything about writing a script and see what was out there - what was selling and what wasn't etc so when it came to my own work, I'd be one step ahead (it's worked but not in any high profile way, yet).
However, while script reading is great, it is poorly paid and it takes up a lot of time. When you first take the plunge, reading will be the only outlet to actually pay the bills (that is if you’re lucky enough to get work as a reader). The standard rate nowadays for ‘coverage’ (a script report) in the UK is £45 and some pay £50 (like the Film Council). It's the £50 gig you want as reading 4 scripts in a week is £200. Not much but enough to pay the basic bills (very frugal living indeed). Reading 8 or 12 scripts is not uncommon, and more money obviously, but fatigue may set in especially if you're busy writing your own scripts or cursing level 22 of Crash Bandicoot on the PlayStation.
If you do have the opportunity to get script reading work, my advice would be to take advantage of all your contacts to get as many reading gigs as possible (in my heyday, I was reading for Pathé, Working Title, WT2 and Miramax) as this will help to keep churning over, and perhaps get a few other sideline jobs to maintain something that resembles a salary (script editing, teaching etc). Of course, the key focus is writing your own work so it's important to establish a routine and discipline which enables you to read scripts but write your own as well. I pretty much read in the morning and write in the afternoon. It's not set in stone but it helps if there are lots of scripts to read in any given week (I read much fewer nowadays as my writing opportunities increase but will do a glut of reading if I have the time or if money’s slow in coming through).
All this talk is all very well but life is more complicated than just saying ‘I’m giving up my job and going to be a writer’. There are numerous considerations and practicalities involved, all unique and with varying significance to each person who’s about to go freelance. Is my wife going to hit the roof? Will my girlfriend stand by me? How will I buy food and clothes for my two year-old son? Who will pay for Dad’s medical treatment? What is the least I can earn that will ensure I can pay my way? How can I guarantee some sort of income? Will I ever socialise again? What will my friends think? How am I going to afford the wedding? Will I miss a payment on the car? On the loan? Should I sell my flat/house? Maybe I should move back in with Mum. Should I move to Hollywood? Am I nuts?
There are no easy options but despite it all, the dream of writing for film and/or TV will usually win through, and will guarantee its own set of problems and frustrations as the effort inevitably takes its toll on your life and relationships. But fate will sometimes offer you a glimmer of hope or keep a leg in the door of destiny so that all your effort and sacrifice (and those of your loved ones) hasn’t gone to waste. It takes time, it takes effort, it takes talent and it takes luck. A crap shoot of determination and chance that will either make or break you but will nearly always be worth the effort, no matter what the outcome.
Making the decision to go freelance, no matter what profession, is a risky and exciting prospect. But it’s essential to have a good idea of what’s ahead of you or what you’re up against if you’re going to realise your dream. And if you do realise your dream, be happy that you’ve “made it” rather than be disillusioned and unhappy by your choices, or the reality that greets you.
“They don’t want you until you have made a name, and by the time you have made a name, you have developed some kind of talent they can’t use. All they will do is spoil it, if you let them.” Raymond Chandler (in a letter to Dale Warren, 7 November 1951).
---
Q: I was thinking about taking the plunge and going freelance doing some script reading and giving myself time to write. And I was wondering if you had any advice on the matter.
It's very exciting taking the plunge but also very daunting. Getting work as a feature scriptwriter is nigh on impossible in the British market. It takes a lot of graft and years of momentum to get that lucky break (unless you write that great genre script that lands in the right place at the right time: you do hear about people doing this but it’s a bit like getting four or five numbers in the lottery, the real jackpot is the Hollywood sale). There are more opportunities writing for TV but similarly getting into a position where you can be considered for the jobs can prove quite tricky. Getting an agent will help in this area however.
As a start, script reading offers invaluable insight into what people are writing and how they're doing it. Most of the spec scripts are mediocre but the ones being made usually have a certain edge, or quality, or professionalism that is important to recognise and implement in your own work. Basically, when I started reading, I wanted to learn everything about writing a script and see what was out there - what was selling and what wasn't etc so when it came to my own work, I'd be one step ahead (it's worked but not in any high profile way, yet).
However, while script reading is great, it is poorly paid and it takes up a lot of time. When you first take the plunge, reading will be the only outlet to actually pay the bills (that is if you’re lucky enough to get work as a reader). The standard rate nowadays for ‘coverage’ (a script report) in the UK is £45 and some pay £50 (like the Film Council). It's the £50 gig you want as reading 4 scripts in a week is £200. Not much but enough to pay the basic bills (very frugal living indeed). Reading 8 or 12 scripts is not uncommon, and more money obviously, but fatigue may set in especially if you're busy writing your own scripts or cursing level 22 of Crash Bandicoot on the PlayStation.
If you do have the opportunity to get script reading work, my advice would be to take advantage of all your contacts to get as many reading gigs as possible (in my heyday, I was reading for Pathé, Working Title, WT2 and Miramax) as this will help to keep churning over, and perhaps get a few other sideline jobs to maintain something that resembles a salary (script editing, teaching etc). Of course, the key focus is writing your own work so it's important to establish a routine and discipline which enables you to read scripts but write your own as well. I pretty much read in the morning and write in the afternoon. It's not set in stone but it helps if there are lots of scripts to read in any given week (I read much fewer nowadays as my writing opportunities increase but will do a glut of reading if I have the time or if money’s slow in coming through).
All this talk is all very well but life is more complicated than just saying ‘I’m giving up my job and going to be a writer’. There are numerous considerations and practicalities involved, all unique and with varying significance to each person who’s about to go freelance. Is my wife going to hit the roof? Will my girlfriend stand by me? How will I buy food and clothes for my two year-old son? Who will pay for Dad’s medical treatment? What is the least I can earn that will ensure I can pay my way? How can I guarantee some sort of income? Will I ever socialise again? What will my friends think? How am I going to afford the wedding? Will I miss a payment on the car? On the loan? Should I sell my flat/house? Maybe I should move back in with Mum. Should I move to Hollywood? Am I nuts?
There are no easy options but despite it all, the dream of writing for film and/or TV will usually win through, and will guarantee its own set of problems and frustrations as the effort inevitably takes its toll on your life and relationships. But fate will sometimes offer you a glimmer of hope or keep a leg in the door of destiny so that all your effort and sacrifice (and those of your loved ones) hasn’t gone to waste. It takes time, it takes effort, it takes talent and it takes luck. A crap shoot of determination and chance that will either make or break you but will nearly always be worth the effort, no matter what the outcome.
Making the decision to go freelance, no matter what profession, is a risky and exciting prospect. But it’s essential to have a good idea of what’s ahead of you or what you’re up against if you’re going to realise your dream. And if you do realise your dream, be happy that you’ve “made it” rather than be disillusioned and unhappy by your choices, or the reality that greets you.
“They don’t want you until you have made a name, and by the time you have made a name, you have developed some kind of talent they can’t use. All they will do is spoil it, if you let them.” Raymond Chandler (in a letter to Dale Warren, 7 November 1951).
Senin, 13 November 2006
Writer/Director
"People are telling me it's a huge step to become a director. I think that the greatest step was to become a writer." - Guillermo Arriaga
There’s no denying the fact that cinema is a director’s medium. No matter what happens behind the camera, from photography, to wardrobe to editing, the director ultimately gets and takes all the credit. After all, it’s ‘A Film By’ the director. This rankles with some because we are continually told that film is a collaborative medium yet the director takes all the plaudits come press time and award season. However, this isn’t a post about whether or not a director should claim the film’s grand by-line (check out Craig Mazin’s site for a healthy debate on the subject). This post is about whether writers should step up to the plate and direct themselves.
Yes. Absolutely. Whenever they can, if at all possible. PotDoll over at Bleeding Forehead has been offered to direct her Film Council short film and she was wondering what to do. She was a little bit surprised at my encouragement that all writers should direct. I may not be expressing original sentiments here but writers make natural directors. You’ve already expressed your vision of the movie in script form. You know what it should look like, who the characters are and how the dialogue should be spoken. Why not direct the film? Intimidated by the technical demands of the role? A bit shy of ordering a crew around? Don’t feel up to the challenge?
These are all small demons that can easily be confronted and overturned. I’m not for one second belittling the role of a good director but I think too many writers think there’s a magical talent involved in leading the crew and preparing the shoots when in reality, a lot of direction can be made easier with the support and knowledge of the crew; from producer, DOP (a lot of disgruntled DOPs out there as they groan about doing a director's work for them), cast and essential technical roles. To be fair, I don’t speak with a great wealth of practical knowledge on the process. After all, I’ve only made one no-budget short, and that didn’t have a crew at all.
However, I have paid particular attention to the director during my various spells on other film sets, and have spoken to a lot of directors, producers and executives on the demands of the director’s job. It is a difficult position to uphold. You need a keen eye for the script’s cinematic needs, empathy and insight into all of the characters in the story, and a clear line of communication to cast and crew in order to effectively get your vision across. It’s not a job for a shy introvert. A lot of writers are shy introverts. Fine, not a problem, don’t direct.
For everyone else however, we have little excuse. We need to get out there and direct our own stories. I am of firm belief that if more writers directed their own material, then it would only strengthen the importance of the writer’s role in the filmmaking process, thus earning us the respect and kudos that we continually complain about not receiving. We can’t just sit back and moan that the director’s changed our script, or the script editor’s being rubbish, or writers get treated like dirt. Yes, it sucks, but the only way to change that is if we do the work that will earn us the respect from our filmmaking peers. Challenging, provocative and entertaining films from our pen, translated to the screen with our vision.
It’s not like you have to surrender the title of writer when you eventually do direct. You don’t even have to say ‘writer/director’. You can always say you’re a writer, first and foremost, and bring attention to that side of the craft more so than the direction. Even on a basic level, attempting to direct a short film will give you a new appreciation on screenwriting - how your cherished words on the page can suddenly have no meaning or practicality come the time of production. We need to learn as much as we can about the filmmaking process so that it informs our work, and improves our scripts. Then, writers will be treated with more care and respect because of our developed sense of craft and production.
Directing is not for everyone. I dig that. Some writers are just not interested. ‘Leave it to the director’. Okay. But if someone reads one of your scripts and asks: “do you want direct it?” Then your answer is “Yes”, every time. The nerves, panic and insecurity will transform into passion, excitement and confidence as you discover that your work has true value, and that you do have what it takes to direct it on to the screen. You don't have to know everything about the process but that's why the producer and crew is there: to help you realise your vision.
There’s no denying the fact that cinema is a director’s medium. No matter what happens behind the camera, from photography, to wardrobe to editing, the director ultimately gets and takes all the credit. After all, it’s ‘A Film By’ the director. This rankles with some because we are continually told that film is a collaborative medium yet the director takes all the plaudits come press time and award season. However, this isn’t a post about whether or not a director should claim the film’s grand by-line (check out Craig Mazin’s site for a healthy debate on the subject). This post is about whether writers should step up to the plate and direct themselves.
Yes. Absolutely. Whenever they can, if at all possible. PotDoll over at Bleeding Forehead has been offered to direct her Film Council short film and she was wondering what to do. She was a little bit surprised at my encouragement that all writers should direct. I may not be expressing original sentiments here but writers make natural directors. You’ve already expressed your vision of the movie in script form. You know what it should look like, who the characters are and how the dialogue should be spoken. Why not direct the film? Intimidated by the technical demands of the role? A bit shy of ordering a crew around? Don’t feel up to the challenge?
These are all small demons that can easily be confronted and overturned. I’m not for one second belittling the role of a good director but I think too many writers think there’s a magical talent involved in leading the crew and preparing the shoots when in reality, a lot of direction can be made easier with the support and knowledge of the crew; from producer, DOP (a lot of disgruntled DOPs out there as they groan about doing a director's work for them), cast and essential technical roles. To be fair, I don’t speak with a great wealth of practical knowledge on the process. After all, I’ve only made one no-budget short, and that didn’t have a crew at all.
However, I have paid particular attention to the director during my various spells on other film sets, and have spoken to a lot of directors, producers and executives on the demands of the director’s job. It is a difficult position to uphold. You need a keen eye for the script’s cinematic needs, empathy and insight into all of the characters in the story, and a clear line of communication to cast and crew in order to effectively get your vision across. It’s not a job for a shy introvert. A lot of writers are shy introverts. Fine, not a problem, don’t direct.
For everyone else however, we have little excuse. We need to get out there and direct our own stories. I am of firm belief that if more writers directed their own material, then it would only strengthen the importance of the writer’s role in the filmmaking process, thus earning us the respect and kudos that we continually complain about not receiving. We can’t just sit back and moan that the director’s changed our script, or the script editor’s being rubbish, or writers get treated like dirt. Yes, it sucks, but the only way to change that is if we do the work that will earn us the respect from our filmmaking peers. Challenging, provocative and entertaining films from our pen, translated to the screen with our vision.
It’s not like you have to surrender the title of writer when you eventually do direct. You don’t even have to say ‘writer/director’. You can always say you’re a writer, first and foremost, and bring attention to that side of the craft more so than the direction. Even on a basic level, attempting to direct a short film will give you a new appreciation on screenwriting - how your cherished words on the page can suddenly have no meaning or practicality come the time of production. We need to learn as much as we can about the filmmaking process so that it informs our work, and improves our scripts. Then, writers will be treated with more care and respect because of our developed sense of craft and production.
Directing is not for everyone. I dig that. Some writers are just not interested. ‘Leave it to the director’. Okay. But if someone reads one of your scripts and asks: “do you want direct it?” Then your answer is “Yes”, every time. The nerves, panic and insecurity will transform into passion, excitement and confidence as you discover that your work has true value, and that you do have what it takes to direct it on to the screen. You don't have to know everything about the process but that's why the producer and crew is there: to help you realise your vision.
Jumat, 10 November 2006
Star Spots
Wandering around London Town of an afternoon, you are likely to see a few actors and celebrities, here and there, if you keep an eye out. They don’t live normal lives so in between rehearsals, and visiting their agents, and coffee with their mates, they can be spotted leisurely strolling through Soho and the West End.
Yesterday, I saw comedy actors Bill Bailey and Sally Phillips together, walking down Charing Cross Road. I should have said 'hello' really as I worked with Bill on the first series of Black Books but that was almost seven years ago now (carramba!), and I was the Production Assistant, he was the star, so I didn't want to corner him into an embarrassing but polite exchange of 'oh yes, how are you?' I should point out however that he is, without doubt, one of the lovliest men in comedy.
I noticed some guy from The Bill, Brian Somebody (Bovell, I think), but I actually got introduced to him as the person I was with knew the person Brian was with (another actor), if you follow. I know, exciting and glamorous, what can I say.
Then, Gail Porter checked me out* in Bar Chocolate on D’arblay Street, a popular choice for media meetings it seems. Nina Sosanya was in John Lewis on Oxford Street looking to buy perfume, or something. Nearly said ‘hello’ to her, as I like her (acting) quite a lot and she’d be good for a part in one of my scripts but seeing as I didn’t have any of my business cards on me (idiot), I didn’t say anything because I’d just come across as a leering fan.
I’m sure I saw Neil LaBute outside the Curzon Cinema on Shaftesbury Avenue. If he’s in town, then it definitely was him, otherwise it was a tramp sort of figure, sorry Neil. I was going to say “hello, I read your version of The Wicker Man and didn’t think it was shite” but seeing as I wasn’t 100% sure if it was him, or a loony who might knife me, I thought better of it.
An enjoyable day in London then, and a couple of meetings that were interesting and potentially very exciting. I won’t say anything about them just yet, for fear of jinxing them or them leading to nothing because, surprise, they’re reliant on other people’s approval so I just have to sit back and see what happens.
What's your best celebrity sighting and/or your most embarrassing moment with a celeb?
Back in 1992, I attended the Dublin Film Festival and a Q&A with Oliver Stone about JFK. I wanted to ask him a question but I was nervous. I eventually plucked up the courage to get the microphone and stand up. I cleared my throat, formulated the words I wanted to say and then said: "Bleeaareeeeghakdkdghgh", because my nerves took over. Everyone laughed. I had to repeat the 'question', which was lame anyway, and Oliver Stone said: "I'm sorry, what did he say?" To which I sat down again.
Fast forward to 1996 and the setting is Port Douglas, north of Cairns, Australia. I'm working as a cold larder chef (!) in the On the Inlet restaurant (part of my year out Down Under thing). Terrence Malick, George Clooney & co are in town to film The Thin Red Line. During my break at the restaurant, I do some fishing at the nearby jetty to kill the time. To my astonishment, I catch a fish! I reel it in, and get applauded by the diners who're enjoying their lunch on the balcony. Leading the applause is none other than Oliver Stone. Ah, fate, we have come full circle.
* Not really, but she was in Bar Chocolate.
Yesterday, I saw comedy actors Bill Bailey and Sally Phillips together, walking down Charing Cross Road. I should have said 'hello' really as I worked with Bill on the first series of Black Books but that was almost seven years ago now (carramba!), and I was the Production Assistant, he was the star, so I didn't want to corner him into an embarrassing but polite exchange of 'oh yes, how are you?' I should point out however that he is, without doubt, one of the lovliest men in comedy.
I noticed some guy from The Bill, Brian Somebody (Bovell, I think), but I actually got introduced to him as the person I was with knew the person Brian was with (another actor), if you follow. I know, exciting and glamorous, what can I say.
Then, Gail Porter checked me out* in Bar Chocolate on D’arblay Street, a popular choice for media meetings it seems. Nina Sosanya was in John Lewis on Oxford Street looking to buy perfume, or something. Nearly said ‘hello’ to her, as I like her (acting) quite a lot and she’d be good for a part in one of my scripts but seeing as I didn’t have any of my business cards on me (idiot), I didn’t say anything because I’d just come across as a leering fan.
I’m sure I saw Neil LaBute outside the Curzon Cinema on Shaftesbury Avenue. If he’s in town, then it definitely was him, otherwise it was a tramp sort of figure, sorry Neil. I was going to say “hello, I read your version of The Wicker Man and didn’t think it was shite” but seeing as I wasn’t 100% sure if it was him, or a loony who might knife me, I thought better of it.
An enjoyable day in London then, and a couple of meetings that were interesting and potentially very exciting. I won’t say anything about them just yet, for fear of jinxing them or them leading to nothing because, surprise, they’re reliant on other people’s approval so I just have to sit back and see what happens.
What's your best celebrity sighting and/or your most embarrassing moment with a celeb?
Back in 1992, I attended the Dublin Film Festival and a Q&A with Oliver Stone about JFK. I wanted to ask him a question but I was nervous. I eventually plucked up the courage to get the microphone and stand up. I cleared my throat, formulated the words I wanted to say and then said: "Bleeaareeeeghakdkdghgh", because my nerves took over. Everyone laughed. I had to repeat the 'question', which was lame anyway, and Oliver Stone said: "I'm sorry, what did he say?" To which I sat down again.
Fast forward to 1996 and the setting is Port Douglas, north of Cairns, Australia. I'm working as a cold larder chef (!) in the On the Inlet restaurant (part of my year out Down Under thing). Terrence Malick, George Clooney & co are in town to film The Thin Red Line. During my break at the restaurant, I do some fishing at the nearby jetty to kill the time. To my astonishment, I catch a fish! I reel it in, and get applauded by the diners who're enjoying their lunch on the balcony. Leading the applause is none other than Oliver Stone. Ah, fate, we have come full circle.
* Not really, but she was in Bar Chocolate.
Kamis, 09 November 2006
Script Reading Offer
I’m just coming out of a brief busy spell of writing but it’s easing up now and gives me time to take a look at the run up to Christmas. Not a lot seems to be happening at the moment, so I can open my script reading books again. If you would like to get an industry report done on your script, then send it to me and I’ll do you coverage for 60 smackers. Yes, for 60 quid you can have one of two options:
Option 1: An industry standard four-page report. First page, basic details including logline and brief. Second page, synopsis. Third and fourth page, comments and critique. There wouldn’t be many sugar-coated comments in this report - this option would be useful if you wanted to see what an anonymous reader would think of your script if it was given to him by the exec.
Option 2: A four-page report, this time with the synopsis overlooked in order to get straight down and dirty with comments and feedback. This is the more constructive and helpful option, offering tips and advice on what the story may need to improve, rather than straight, critical comments.
For those of you unfamiliar with me and the blog, here’s a quick reminder: I have been a script reader since 1999, and I’ve read for companies such as Channel 4, Miramax, Working Title and Pathé, amongst others. One exec recently said: “just wanna say your coverages are great. We now send them to the head honchos to keep them in the loop.”
You can email the script at the usual address (see my profile). PDF, Final Draft and Word files all accepted. Payment can be made by cheque, BACS or PayPal. I look forward to reading your work.
Option 1: An industry standard four-page report. First page, basic details including logline and brief. Second page, synopsis. Third and fourth page, comments and critique. There wouldn’t be many sugar-coated comments in this report - this option would be useful if you wanted to see what an anonymous reader would think of your script if it was given to him by the exec.
Option 2: A four-page report, this time with the synopsis overlooked in order to get straight down and dirty with comments and feedback. This is the more constructive and helpful option, offering tips and advice on what the story may need to improve, rather than straight, critical comments.
For those of you unfamiliar with me and the blog, here’s a quick reminder: I have been a script reader since 1999, and I’ve read for companies such as Channel 4, Miramax, Working Title and Pathé, amongst others. One exec recently said: “just wanna say your coverages are great. We now send them to the head honchos to keep them in the loop.”
You can email the script at the usual address (see my profile). PDF, Final Draft and Word files all accepted. Payment can be made by cheque, BACS or PayPal. I look forward to reading your work.
Selasa, 07 November 2006
Be Small To Be Big
A lot of scripts try to impress with the scale of their story, and litter the plot with action, explosions and all manner of special effects. Most of the time, the scripts fail to make an impression because of their superficial and often vacuous presentation. In some instances, the writer will display a talent or penchant for good action-writing, and this is a difficult skill in itself, but on the whole won't make the cool set-pieces worth the while because of the underdeveloped characters and story that surround the jumps and chases.
This is where a love of genre can sometimes be a misguided attempt to emulate the writer's favourite action-moments or movies. A perfectly good genre idea might be ruined or underserved because of the writer's roadmap approach to familiar set-pieces and special effects. Audiences definitely want spectacle but they also want the story to support the spectacle rather be contrived around the plot. The ideal scenario is for characters to drive the narrative and action with their emotional and dramatic needs rather than conveniently reacting to the plot's desire to deliver thrills and spills.
You've got to "be small to be big". This means that if you can focus on the singular needs of a character, no matter how mundane or humdrum, you will tap into a broader emotional resonance than you would have given yourself credit for. That way, when the character eventually gets thrown out of a plane, or whatever, the audience is in the tune with the character's emotional stakes, not just the immediate peril he's facing.
Domesticity seems to be an area that helps give a movie its emotional and dramatic anchor. By focusing on the family network, and the key dynamics involved therein, the drama can become really compelling later on once the meteor hits Earth (Deep Impact). Three other examples come to mind as I write: A History of Violence, Signs and War of the Worlds.
A History of Violence was very much a domestic drama until the pesky Ed Harris showed up and blew Viggo's cover. The story focused on the emotional fall-out with Viggo's wife and family, which leads to the cracking violent showdown with William Hurt, and an Oscar nomination for screenplay. The result: an emotionally rewarding story of a man trying to forget his past alongside the vicarious thrill of some awesome fights.
Signs was an apocalyptic alien invasion movie told exclusively from a family's point-of-view on their isolated farm. No dazzling special effects, no big alien landing or blazing scenes of space, just a father struggling with his faith as he tries to protect his family from disaster.
The War of the Worlds perfectly balances the scale of a big budget movie with the emotional needs of the story. It's Signs out in the open, on the run and with amazing SFX. While some might carp and groan at the perfunctory domestic set-up of Tom and Dakota, the story manages to dramatise effective scenes regarding their dynamic to counterbalance the alien action.
So, for all you hungry genre-busting writers out there who want to pay homage to all your fave action films, think of the emotional needs of your characters, and ask yourself if you've really done them justice, or are you just using them as the necessary transitions for the next amazing set-spiece and special effects extravaganza?
This is where a love of genre can sometimes be a misguided attempt to emulate the writer's favourite action-moments or movies. A perfectly good genre idea might be ruined or underserved because of the writer's roadmap approach to familiar set-pieces and special effects. Audiences definitely want spectacle but they also want the story to support the spectacle rather be contrived around the plot. The ideal scenario is for characters to drive the narrative and action with their emotional and dramatic needs rather than conveniently reacting to the plot's desire to deliver thrills and spills.
You've got to "be small to be big". This means that if you can focus on the singular needs of a character, no matter how mundane or humdrum, you will tap into a broader emotional resonance than you would have given yourself credit for. That way, when the character eventually gets thrown out of a plane, or whatever, the audience is in the tune with the character's emotional stakes, not just the immediate peril he's facing.
Domesticity seems to be an area that helps give a movie its emotional and dramatic anchor. By focusing on the family network, and the key dynamics involved therein, the drama can become really compelling later on once the meteor hits Earth (Deep Impact). Three other examples come to mind as I write: A History of Violence, Signs and War of the Worlds.
A History of Violence was very much a domestic drama until the pesky Ed Harris showed up and blew Viggo's cover. The story focused on the emotional fall-out with Viggo's wife and family, which leads to the cracking violent showdown with William Hurt, and an Oscar nomination for screenplay. The result: an emotionally rewarding story of a man trying to forget his past alongside the vicarious thrill of some awesome fights.
Signs was an apocalyptic alien invasion movie told exclusively from a family's point-of-view on their isolated farm. No dazzling special effects, no big alien landing or blazing scenes of space, just a father struggling with his faith as he tries to protect his family from disaster.
The War of the Worlds perfectly balances the scale of a big budget movie with the emotional needs of the story. It's Signs out in the open, on the run and with amazing SFX. While some might carp and groan at the perfunctory domestic set-up of Tom and Dakota, the story manages to dramatise effective scenes regarding their dynamic to counterbalance the alien action.
So, for all you hungry genre-busting writers out there who want to pay homage to all your fave action films, think of the emotional needs of your characters, and ask yourself if you've really done them justice, or are you just using them as the necessary transitions for the next amazing set-spiece and special effects extravaganza?
Kamis, 02 November 2006
Silence is Golden, TCM Shorts Winner
Last night at The Times London Film Festival SILENCE IS GOLDEN won the TCM CLASSIC SHORTS competition.
The prize was presented to Chris Shepherd (Writer/Director), Maria Manton (Producer) and the film’s main star Conor Morris at the NFT by Imelda Staunton and Andrew Collins.
What the judges said about the film:
“Wonderfully surreal”: Imelda Staunton
“Technically extremely impressive, full of wit and imagination”: Stephen Poliakoff
“A wonderful combination of mixed media, strong storytelling and talented actors”: Matthew Modine
“Terrific, strong, non-sentimental kid’s story”: Terry Gilliam
If you’ve not seen Silence is Golden yet you can watch it on-line along with the other short listed films at the BBC Film Network or TCM Classic Shorts website.
The five short listed films can be viewed at 9pm, 5th November on TCM as part of a special weekend of programming on 4th and 5th November to celebrate TCM Classic Shorts during which the excerpts from the ceremony will be broadcast alongside landmark films and interviews with stars and filmmakers.
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This is fantastic news. Well done, Chris!
The prize was presented to Chris Shepherd (Writer/Director), Maria Manton (Producer) and the film’s main star Conor Morris at the NFT by Imelda Staunton and Andrew Collins.
What the judges said about the film:
“Wonderfully surreal”: Imelda Staunton
“Technically extremely impressive, full of wit and imagination”: Stephen Poliakoff
“A wonderful combination of mixed media, strong storytelling and talented actors”: Matthew Modine
“Terrific, strong, non-sentimental kid’s story”: Terry Gilliam
If you’ve not seen Silence is Golden yet you can watch it on-line along with the other short listed films at the BBC Film Network or TCM Classic Shorts website.
The five short listed films can be viewed at 9pm, 5th November on TCM as part of a special weekend of programming on 4th and 5th November to celebrate TCM Classic Shorts during which the excerpts from the ceremony will be broadcast alongside landmark films and interviews with stars and filmmakers.
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This is fantastic news. Well done, Chris!
Rabu, 01 November 2006
Guest Post: Writing for Theatre
We are continually told that execs are always looking for writers who have an original voice or have something interesting to say. The spec screenplay pile doesn’t offer a lot of distinctive voices or innovative material. So, a lot of the time, execs will turn to the theatre to see which writers are making their mark.
It is not a huge leap from theatre to screenwriting, and a lot of successful writers have learned their craft by dabbling with more experimental fare on radio and the stage. But I don’t know a great deal about it. Luckily, Tom Green does. Tom is a writer who is a member of the Writers’ Guild of GB and edits their blog, website and magazine. Here, he shares his tips and insight into writing for theatre:
“There’s not a huge amount about playwriting available online so, even though this is primarily a blog for screenwriters, I thought people might be interested in a few thoughts about writing for theatre.
I had my first play staged in 2004 and my second, Antigua, opens at The Tabard Theatre in London on November 7th, so I’m hardly a seasoned professional. But the brief experience I’ve had has been extremely enjoyable and taught me more than anything I’d done before.
The basics
As with any form of dramatic writing, there are no limits to subject or scale. But more theatres will be able to stage a two-person show than one with a cast of thirty.
People in theatre seem less hung-about about structure than their film and TV equivalents but the same ‘rules’ still apply – after all, Aristotle wasn’t writing about feature films. On the whole, risk-taking in both form and content is encouraged. If you can tell a good story and create controversy then you’re made.
For some basic ‘how-to’ advice try Playwriting 101 by Jon Dorf. The Playwriting Seminars by Richard Toscan is also useful, even though it’s very badly designed.
There is no single set format for play manuscripts, just make a clear distinction between dialogue and action and make it clear who is speaking.
What’s in it for you?
You’re unlikely to get rich writing plays. Even if you do manage to get something staged at a decent venue you won’t be giving up the day job any time soon. A writer told me recently that she’d made more from a single episode of Hollyoaks that she wrote in three weeks than from a commissioned play that took her two years.
The benefits come primarily from the working process - writers tend to be more involved, and listened to, than they might be in film or TV. And seeing your work performed in front of an audience is invaluable.
You’ll also find that, if you can get something produced, people in TV, as well as in theatre, will take notice. If you get some good reviews, expect to find agents knocking on your door.
Getting staged
There are only a handful of new writing theatres, but most of them will (eventually) read what you send them and, if they like it, they’ll try to find a way to get you involved in a writing group or scheme. Don’t expect it to be any easier than getting into TV or film, though. But at least you’ll be getting rejected by different people.
While getting a play on at a mainstream theatre is the goal, you can also try the fringe. It’s not cheap – perhaps £150 plus per night to hire the venue, for starters – but if you can raise the money it’s a way to get your work seen and your name known.
There’s a useful list of London fringe venues at OffWestEnd.com
Some new writing theatres in London:
Royal Court
Soho Theatre
Hampstead Theatre
The Bush Theatre
Paines Plough
Theatre Royal, Stratford East
Outside London:
Liverpool Everyman
Liverpool’s New Writing Theatre
Traverse, Edinburgh
Edinburgh Fringe
Royal Exchange Theatre, Manchester
If you are interested in writing for the theatre, the best thing to do first is read a lot of plays and go to the theatre as much as possible. Feel free to start by coming to see my play, Antigua, at The Tabard. Say the magic words “Danny Stack” and I’ll buy you a drink in the bar.”
That’s extremely useful. Thanks, Tom!
It is not a huge leap from theatre to screenwriting, and a lot of successful writers have learned their craft by dabbling with more experimental fare on radio and the stage. But I don’t know a great deal about it. Luckily, Tom Green does. Tom is a writer who is a member of the Writers’ Guild of GB and edits their blog, website and magazine. Here, he shares his tips and insight into writing for theatre:
“There’s not a huge amount about playwriting available online so, even though this is primarily a blog for screenwriters, I thought people might be interested in a few thoughts about writing for theatre.
I had my first play staged in 2004 and my second, Antigua, opens at The Tabard Theatre in London on November 7th, so I’m hardly a seasoned professional. But the brief experience I’ve had has been extremely enjoyable and taught me more than anything I’d done before.
The basics
As with any form of dramatic writing, there are no limits to subject or scale. But more theatres will be able to stage a two-person show than one with a cast of thirty.
People in theatre seem less hung-about about structure than their film and TV equivalents but the same ‘rules’ still apply – after all, Aristotle wasn’t writing about feature films. On the whole, risk-taking in both form and content is encouraged. If you can tell a good story and create controversy then you’re made.
For some basic ‘how-to’ advice try Playwriting 101 by Jon Dorf. The Playwriting Seminars by Richard Toscan is also useful, even though it’s very badly designed.
There is no single set format for play manuscripts, just make a clear distinction between dialogue and action and make it clear who is speaking.
What’s in it for you?
You’re unlikely to get rich writing plays. Even if you do manage to get something staged at a decent venue you won’t be giving up the day job any time soon. A writer told me recently that she’d made more from a single episode of Hollyoaks that she wrote in three weeks than from a commissioned play that took her two years.
The benefits come primarily from the working process - writers tend to be more involved, and listened to, than they might be in film or TV. And seeing your work performed in front of an audience is invaluable.
You’ll also find that, if you can get something produced, people in TV, as well as in theatre, will take notice. If you get some good reviews, expect to find agents knocking on your door.
Getting staged
There are only a handful of new writing theatres, but most of them will (eventually) read what you send them and, if they like it, they’ll try to find a way to get you involved in a writing group or scheme. Don’t expect it to be any easier than getting into TV or film, though. But at least you’ll be getting rejected by different people.
While getting a play on at a mainstream theatre is the goal, you can also try the fringe. It’s not cheap – perhaps £150 plus per night to hire the venue, for starters – but if you can raise the money it’s a way to get your work seen and your name known.
There’s a useful list of London fringe venues at OffWestEnd.com
Some new writing theatres in London:
Royal Court
Soho Theatre
Hampstead Theatre
The Bush Theatre
Paines Plough
Theatre Royal, Stratford East
Outside London:
Liverpool Everyman
Liverpool’s New Writing Theatre
Traverse, Edinburgh
Edinburgh Fringe
Royal Exchange Theatre, Manchester
If you are interested in writing for the theatre, the best thing to do first is read a lot of plays and go to the theatre as much as possible. Feel free to start by coming to see my play, Antigua, at The Tabard. Say the magic words “Danny Stack” and I’ll buy you a drink in the bar.”
That’s extremely useful. Thanks, Tom!
Selasa, 31 Oktober 2006
British Buzz
Last night, Jonathan Ross had a special report on Film 2006 about a few notable British films that will be cropping up at a cineplex near you (or at the London Film Festival now if you're keen). They seem like interesting, funny and engaging stories worthy of our attention so put aside any cynicism and sour grapes, and support British film.
Let's have a look:
Scenes of a Sexual Nature: A low-to-no-budget ensemble drama starring the cream of British talent. Kudos to the filmmakers for getting it made and attracting such a high-profile cast.
Hot Fuzz: Simon Pegg & Edgar Wright look set to do the cop movie what they did to zombies. The trailer where Simon Pegg somersaults over a garden fence is great.
Borat: Sacha Baron-Cohen's profile and popularity rises with his disingenuous spoof of an innocent simpleton from Kazakhstan.
The Last King of Scotland: I had to a trial report of this script for Film4 in 1999 in order to convince them to let me be one of their readers. As a green and keen reader, it was a tricky script to critique but a very engaging and interesting story nonetheless.
Starter for Ten: David Nicholl's adaptation of his own book about romance, education, 80s fashion and University Challenge. Charming and funny, and a very well-written script.
Sixty Six: Paul Weiland tells an autobiographical tale of a boy's Bar Mitzvah clashing with England's game in the World Cup Final of 1966.
Red Road: Andrea Arnold's directorial debut after her Oscar-winning short film success of last year, Wasp.
Night People: Writer/director (and friend of the blog), Adrian Mead, sees his directorial debut released in Scotland this week so go along to support it if you can at the Filmhouse Edinburgh, Cineworld Edinburgh or check it out in GLASGOW from Sun 5th Nov - Tues 7th Nov at the Glasgow Film Theatre (GFT). See a trailer for Night People and more info at Mead Kerr's website.
And a bit of Irish news. A huge shout out and congratulations to writer/director Tom Cosgrove for winning the Final Draft Big Break Competition with his script 'The Sea Devils' (from over 3,000 entrants).
Let's have a look:
Scenes of a Sexual Nature: A low-to-no-budget ensemble drama starring the cream of British talent. Kudos to the filmmakers for getting it made and attracting such a high-profile cast.
Hot Fuzz: Simon Pegg & Edgar Wright look set to do the cop movie what they did to zombies. The trailer where Simon Pegg somersaults over a garden fence is great.
Borat: Sacha Baron-Cohen's profile and popularity rises with his disingenuous spoof of an innocent simpleton from Kazakhstan.
The Last King of Scotland: I had to a trial report of this script for Film4 in 1999 in order to convince them to let me be one of their readers. As a green and keen reader, it was a tricky script to critique but a very engaging and interesting story nonetheless.
Starter for Ten: David Nicholl's adaptation of his own book about romance, education, 80s fashion and University Challenge. Charming and funny, and a very well-written script.
Sixty Six: Paul Weiland tells an autobiographical tale of a boy's Bar Mitzvah clashing with England's game in the World Cup Final of 1966.
Red Road: Andrea Arnold's directorial debut after her Oscar-winning short film success of last year, Wasp.
Night People: Writer/director (and friend of the blog), Adrian Mead, sees his directorial debut released in Scotland this week so go along to support it if you can at the Filmhouse Edinburgh, Cineworld Edinburgh or check it out in GLASGOW from Sun 5th Nov - Tues 7th Nov at the Glasgow Film Theatre (GFT). See a trailer for Night People and more info at Mead Kerr's website.
And a bit of Irish news. A huge shout out and congratulations to writer/director Tom Cosgrove for winning the Final Draft Big Break Competition with his script 'The Sea Devils' (from over 3,000 entrants).
Jumat, 27 Oktober 2006
Script Reading Tips
I’ve spoken about script reports before, and how they are laid out and what the exec would expect to read in terms of the script’s critique. Once you start reading for a few different companies, they sometimes give you their own criteria on how they like their reports, and what they expect to read. It’s all variations of the main topics, of course, but they’re usually good script reading tips nonetheless. And it’s always good to revise, and be aware, so here are some useful reminders of how your script is being assessed once it gets sent out.
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Quality of Concept: Is it an original premise? Is it a genre? Is it fulfilling its genre requirements in an interesting and engaging way? Is it a script with commercial or cultural potential, or does it have a specific target audience that would still make it worthwhile?
Story: What is the strength of the central concept and is it clearly established/dramatised in the story? What is the strength and clarity of the narrative and its development? Is the plotting overly-contrived or convenient, or does it feel organic and dramatic to the characters and story? Are the sub-plots noteworthy or indeed noticeable?
Structure: Does the script move at a good pace and utilise a fitting structure to tell its story? Are there discernable act-breaks or turning points? Does the action and story build appropriate interest and momentum to achieve these turning points? Is it too predictable or does it defy expectation?
Characterisation: Are they original characters with interesting qualities and personalities? What’s the dialogue like? Is there an emotional journey or character arc for the protagonist, and/or secondary characters?
Themes: Is there a solid coherence/integration of the theme within the body of the piece? Does it reflect social and topical issues or something more broad and universal?
Tone & Style: Is the writing consistent and skilled in its dramatic depiction? Is it too plain and drab with no real flair and voice, or does it show innovation and originality with its storytelling technique? Is there humour? What’s the atmosphere/mood like, does it change, dip, or slip into any kind of inconsistency?
Vision: What’s the visual potential of the story? Is it really TV? Does it or could it involve any technological aspects that would make the visual story more appealing?
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These headings and questions are guidelines for the reader to think about, not for him/her to sit down and respond to each one in kind. Most of the time, readers respond on instinct and their developing insight into the whole screenwriting process so a well-written report that covers concept, structure and characters could well be more useful for the exec (and writer) than a routine checklist of every screenwriting element known to man.
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Quality of Concept: Is it an original premise? Is it a genre? Is it fulfilling its genre requirements in an interesting and engaging way? Is it a script with commercial or cultural potential, or does it have a specific target audience that would still make it worthwhile?
Story: What is the strength of the central concept and is it clearly established/dramatised in the story? What is the strength and clarity of the narrative and its development? Is the plotting overly-contrived or convenient, or does it feel organic and dramatic to the characters and story? Are the sub-plots noteworthy or indeed noticeable?
Structure: Does the script move at a good pace and utilise a fitting structure to tell its story? Are there discernable act-breaks or turning points? Does the action and story build appropriate interest and momentum to achieve these turning points? Is it too predictable or does it defy expectation?
Characterisation: Are they original characters with interesting qualities and personalities? What’s the dialogue like? Is there an emotional journey or character arc for the protagonist, and/or secondary characters?
Themes: Is there a solid coherence/integration of the theme within the body of the piece? Does it reflect social and topical issues or something more broad and universal?
Tone & Style: Is the writing consistent and skilled in its dramatic depiction? Is it too plain and drab with no real flair and voice, or does it show innovation and originality with its storytelling technique? Is there humour? What’s the atmosphere/mood like, does it change, dip, or slip into any kind of inconsistency?
Vision: What’s the visual potential of the story? Is it really TV? Does it or could it involve any technological aspects that would make the visual story more appealing?
---
These headings and questions are guidelines for the reader to think about, not for him/her to sit down and respond to each one in kind. Most of the time, readers respond on instinct and their developing insight into the whole screenwriting process so a well-written report that covers concept, structure and characters could well be more useful for the exec (and writer) than a routine checklist of every screenwriting element known to man.
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