Weekend Update

A couple of things you should know about. Or at least, the geeks like me should know about.

There’s a great Q&A with Simpsons creator Matt Groening HERE.

And then, wait for it, there’s a three hour podcast glimpse into Battlestar Galactica’s Writers’ Room HERE, also downloadable on iTunes. Can’t wait to listen to that!

Ok, excitement over.

Weekend Noticeboard

Leanne Smith over at Film Flam has a very funny but spot-on account of what the development process can be like. Check it out.

In industry news, BBC1 is to capitalise on the enduring popularity of Holby City with a spin-off series set in a local police station.

The new show, which has the working title Holby Blue, is being co-produced by Life on Mars and Hustle creator Tony Jordan, who is also a veteran EastEnders writer. It is believed the new series will have an initial run of 12 episodes.

I’m up to London Town today for meetings and larks, hurrah. Good to get out of the house. Have a great weekend everybody. Bejimminy, it’s another Bank Holiday so it’s another bumper noticeboard to tide you over till Tuesday. Be good now.

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I-BLINK

i-blink is a brand new scriptwriting competition open to writers and filmmakers throughout Europe.

We're looking for submissions for shorts that are 10 minutes or less. Prizes include cash, loaning of kit to make the film, training at Pinewood, software and more. There will be TEN WINNERS who will each receive a great range of goodies. Everyone who enters will also receive feedback on their script.

The deadline is 19th June, please look at i-blink for more information.

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SCRIPT OPPORTUNITY - New Town Films

New Town Films are an independent production company based in the south east. They financed their first feature 'New Town Original' and distributed the film themselves nationwide in April 2005.

As their company continues to grow they are looking for new Film and TV scripts (particularly those in strong genre fields such as Horror, Thriller, Romantic comedy) to add to their slate of projects.

Please send story outlines or treatments to ntfilms@hotmail.com.
You can also visit our website at New Town Films.

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HOW TO WRITE A NOVEL

Learn from a pro:
Novelist & professor Charles Palliser.
Daily workshops & discussions on the art & structure of fiction.
12th - 19th June 2006, near Girona, Spain
599 GBP - exclusive discount of 10% for Shooters - and further discounts for sharing/couples. Flights not inc.

This weeklong course is based in an outstanding location with 2 swimming pools and local cuisine included.
Tel: 0871 734 1165. E: sp@7daywonder.com; or Web: 7 Day Wonder.

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SCREENWRITING MASTERCLASS

Greenroom, Manchester, UK/ Friday 05 May 16:00
Amnon Buchibinder (Whole New Thing) in conversation with Alan Marcus discloses his tips on how to write a brilliant script!
Find out more @ Commonwealth Film.

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Attend Lew Hunter’s screenwriting colony

Lew Hunter’s UK screenwriting colony will be held at the London College of Communications between 14 – 28 July 2006. The colony is an intense program for serious writers of all levels. This is a great opportunity for screenwriters in the UK to work with two well respected screenwriting tutors from the USA. Attendance will cost £1080 – follow the link for more information.

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ARE YOU A "GOOD WRITER?"

NEW DATE!!!!!!! Saturday 6TH MAY 10.00 am to 5.00 pm.
VENUE: St Columbas By The Castle Church Hall, Johnston Terrace, Edinburgh
COST: £65 (inc VAT and refreshments)
E-MAIL: info@meadkerr.com or call 0131 554 4539

Award winning Writer and Director Adrian Mead presents another in his acclaimed series of classes.

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FILM FOR YOUTH - Call for Entries

If you are aged 12-25 and want to make short films then Film for Youth is the festival for you. Submit your short film by 23 June 2006 and you could be in with a chance of attending a Film Master class with Guy Ritchie; a residential week-long workshop in film-making, gaining a Youth Achievement Award and even seeing your film screened at a prestigious premiere evening during the Urban Arts Festival at the acclaimed Waterfront Complex in Belfast, N. Ireland in July 2006. Check the website to find out more.

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JOB OPPORTUNITE AT AVAILABLE LIGHT

Bristol based Available Light Productions is looking to recruit people to work on its programme of output for the digital TV channel, Teachers' TV. To find out more about what they are looking for and how to apply please click the website . The deadline for applications is 5 May 2006.

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THE SKILLSET MASTERCLASS WITH MATT STONE & TREY PARKER

South Park creators Parker and Stone will explore the art of creating political satire, getting inspiration from Bruckheimer to Thunderbirds, the merits of puppet versus cell animation, the idea of absolute creative freedom, never making another movie, and how far is too far. The event takes place at the National Film Theatre, South Bank, London on 15 May 2006. Book your place now by contacting the National Film Theatre 020 7928 3232 or see the NFTS website .

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Script Vs Film: An American Haunting

This film, starring Donald Sutherland, Sissy Spacek and James D’Arcy, seems to be getting terrible reviews all around. It hasn’t done very well in the States either, just kind of slipping away without trace.

I read the script in March 2004 when William H Macy, Helena Bonham Carter, Joseph Fiennes were attached to star. Interesting to note that they either must have all seen sense to leave the project, or received better offers elsewhere just in the nick of time. Or they could have figured out that the script was indeed a pile of poo.

Some of the quality of writing wasn’t bad but the story was groaning with cliché and didn’t make for a captivating or scary experience. A shame as it’s based on true events. It could have and perhaps should have found its place in the market.

Here’s my logline: “A woman finds a dusty manuscript in her attic, which tells the story of a wealthy family’s terror when they were haunted by an evil entity back in 1818.”

And my brief: “This is as about as scary as Peter Andre resurrecting his singing career: the script is surprisingly, and disappointingly, full of cliché and naff moments, which leads to an ambiguous and unclear resolution.” I wouldn’t ordinarily put in a gag like that but the company I read it for knew me pretty well at this point and I was their only reader so I felt I could be a bit more sassy.

Anyway, here are my comments. Spoilers aplenty but you’re probably not going to see it so it shouldn’t matter very much:

“This is a real corny horror/ghost story and it’s so full of cliché and naff moments that it’s hard to imagine that it’s based on a book by Brent Monahan. It tells the story of a wealthy family in Tennessee in 1818 who are terrorised by an evil entity and its revenge for the sins of the father.

But the story is poorly presented and structured. It opens in the present day where Elizabeth Swann has moved into a new house with her daughter Rebecca. Elizabeth finds a dusty manuscript in the attic and starts to read about the Bell’s ordeal in 1818 when the American haunting took place. So, the story CUTS TO Tennessee in 1818 and the remainder of the plot develops from here. But what we are presented with is hardly a gripping or scary story.

The crux of the situation is that an evil entity has targeted the daughter of a wealthy socialite to teach him a lesson about his previous sins and misdemeanours. This isn’t a bad situation per se but its dramatisation seems twenty years out of date and the spooky moments only have a comic effect. Mainly. Initially, some of the creepy and tense moments are intriguing but then the story becomes repetitive and unimaginative with its quality of fright, and the script starts to disappoint with its particular approach.

Basically, the unseen entity becomes more and more apparent in the scheme of things. It starts to talk to the characters and take on different forms, denying the reader/audience from being truly frightened or interested in its character. Indeed, once the entity introduces itself, it carries on haunting Betsy, the unfortunate daughter, but the implication is that the haunting has become a regular event, so this takes away the pace and urgency of what’s going on.

Sadly, what is going on is never clearly explained. A curse is put on the family over some dispute between John Bell, the patriarch, and Kate Batts, a local witch. But this instance is glossed over in the script, blink and you’ll miss it, and the lead up and implementation of this plot point is weakly done.

It’s blindingly obvious that Kate Batts isn’t responsible for the curse on the Bell family but the entity’s determination to haunt the Bells is never made clear because it changes from terrorising Betsy to terrorising John Bell. Apparently, the entity wants to torture John Bell anyway, no-one else, so why bother spending all that time terrorising the unfortunate Betsy.

The script tries to imply red herrings and shady characters but it all comes to nothing and unfortunately, the script’s explanation of events at the end leaves a bigger question mark than it did at the start. The entity has too much of a presence to be truly scary and all the visions, dreams and use of Ethereal Girls only provide bells and whistles to a fairly flat screenplay.

Some of the scene transitions are quite good and the writing isn’t bad but the more important aspects of plot and scare quality are sadly lacking, and the film distinctly under-performs. There are also one or two characters that have no valid presence or contribution and the script would do well to break itself away from the literary course of the book. What may work fine on the page doesn’t necessarily translate well to the screen. The dramatisation and conviction of this script seems to be somewhat out of date.

It’s not scary and it’s full of cliché. The ending is particularly frustrating because the reason for the entity’s haunting is not decently explained. In addition, the use of Elizabeth Swann in the present day seems completely redundant given her lack of importance to the overall situation. The bookend structure of her moving in to a new home didn’t do anything for the story and her shock of seeing her daughter being taken away didn’t provide a fitting finish. It’s all a bit standard and silly, and does not get a suitable recommendation.”

Title Fight

A good title for your screenplay will help your project on a number of different levels. From a script reader’s and exec’s point-of-view, they’re looking for a snappy and/or interesting title, something that will make them want to pick up the script and open page one. Execs have admitted (and some readers too) that they will flick through their script pile and pick out one that has the most interesting title as it provides them with a glimmer of hope that they might get an interesting read before they go to bed.

So, “A Postman’s Life” might find itself slipping to the bottom of the pile while the more enticing titles like “Murder Ridge” or “Sex Cocktail” will definitely catch the eye. An effective title states its intentions up front, giving the reader a good indication of the film’s tone and what it’s going to be about.

Here’s an alarming fact for you: most people who go to the cinema decide what they’re going to see while they’re queuing at the box office. They’re choosing their entertainment based on the title alone. This is probably a certain demographic (undemanding teens) but it’s a sobering thought nonetheless.

One word titles are punchy and efficient, usually good for horrors or thrillers. The most common film titles, especially for screenplays, is ‘The…”: The Last Time, The Main Man, The Film’s Title. Which is fine, nothing wrong with that at all. Titles to avoid are using a character’s name to indicate what you’re going to do with them. For example: Romancing Peter, A Coffee with John, Dancing with Sandra. Exceptions to the rules all round of course. Saving Private Ryan is an okay title but it becomes a good title when it’s a Steven Spielberg film starring Tom Hanks.

Long titles have come back into fashion but make sure they sound good at least. Eternal Sunshine of the Spotless Mind is a very intriguing name for a film while Pirates of the Caribbean tells you most of what you need to know and the added ‘Curse of the Black Pearl’ neatly fills in the blanks for you.

Instead of me harping on about other people’s titles, it seems only fair that I put my own titles up for scrutiny. I think it was either ‘Screamwriter’ or ‘Sanctum of a Scriptweaver’ (links in US blogs) that posted their script titles in a poll asking readers which they thought was best. A neat idea. In a similar fashion, here’s a personal appraisal of my portfolio:

Origin: my latest. A lean, evocative title for a horror. Very pleased.

Aliens FC: Feature animation. You get it from the title. We love it.

Run For Home: A bit more drab and downbeat but in-line with theme and content of story. Not bad.

The Devil’s Punchbowl: Intriguing title, automatically suggesting horror. A lot of title’s lead with The Devil’s Backbone or The Devil’s Breakfast or whatever but at least The Devil’s Punchbowl refers to a real place and it’s where the film’s set.

The Good Guys: Flimsy. My first script and I always promised myself to think of something else but the project’s been put to bed now so that’s fine.

Bloodline: Fairly humdrum title for a horror, quite obvious and common. Need to change.

Us Mere Mortals: I like it but unsure whether it’s distinctive and punchy enough to get its point across. Perhaps just ‘Mere Mortals’ better. Don’t know. Need to rewrite script first and worry about title later.

A lot of titles will be suggested and/or changed by the marketing men once the film is completed. James’s latest film Severance (coming to a cinema near you) went through various names before finalising on the swift, efficient, punchy and evocative title for the horror that it is.

This is a common occurrence. So, on the one hand, if you’re lucky to be in the position of having your film in production, you can afford not to worry too much about the title as it can all be worked out before it hits marketing but in the early stages of sending your script out, it’s best to try to be as attention grabbing and imaginative as you can be. As with all things in screenplay land of course, this is easier said than done.

White Space

If film is a visual medium, then lots of scenes won't have dialogue and will be description only. Yet 'the rule' is to keep the pages as 'white' as possible… How do you write visual scenes without putting too much ink on the page?

Readers and execs do like to read scripts that are easy on the eye. It’s a big plus to be able to flick through the pages with casual ease as it gives the sense that you’re not getting bogged down in the page-by-page rendition of the story.

The first thing a reader does when he picks up a script is check how many pages it has. The second is a quick flick through to see if the action and dialogue is laid out in attractive ‘white space’. If both boxes get ticked (script between 95-110 pages and white space ago-go) then the reader’s sitting down with a grateful approach to the script.

As Lucy, Nick and Grubber remarked in the comments of the previous post, it certainly does help to use the ‘Return’ key a lot to separate your lines of action into quick, terse sentences instead of keeping them together in one dense paragraph that’s a blot on the eye.

Spacing your sentences out does give a script a better sense of immediacy than grouping lines together in 12+ line paragraphs. However, I have read scripts that have been full of dense paragraphs and run over 130+ pages but have enjoyed the script regardless because of the quality and talent behind the words.

The real question of ‘white space’ is about using fewer words in a screenplay. Screenwriting as haiku, if you will.

“Fewer words” doesn’t mean plain expression. It is the opposite. From my post about Original Voice last year I made reference to the fact that most scripts are littered with lazy description, or phrases that have become accepted screenplay shorthand.

“John walks down the street, clearly drunk” is plain lazy but commonly used. This is where the advice of fewer words and making your description short is misunderstood. What the script should describe is John’s behaviour of being drunk, not just telling us that he’s clearly intoxicated.

It’s about making every word of your screenplay count. Not enough writers take the time to be visually arresting about the most basic parts of their narrative description.

What you want to do is SHOW YOU CAN WRITE and alert the reader to your ‘original voice’ on EVERY PAGE. It takes a little bit more effort, and of course talent, but is instantly recognised and appreciated by the people who have to wade through a sea of poor scripts every day.

Using fewer words will help broaden the white space in your script but the most expressive language will also help to heighten the emotional attachment to the story. For example, if a scene sees John Smith walking down the street in the rain, a bit drunk, and he stumbles to find an important piece of paper then the writing should reflect the tone and significance of what’s happening.

What you don’t want to read: “It’s raining. John stumbles down the street clearly drunk. He slips and finds a piece of paper and looks at the stained writing. His eyes light up at what he reads”.

Although simple, direct and to the point, it’s fairly bland and emotionless. Ideally, the writing should reflect the tone of what’s happening, ensuring that each word of narrative description is evoking the right visual and emotional response. If the scene is from a rom-com, it may go like this:

“John arches his head back and laughs as he lets the rain dance on his cheeks.

He skips along the road, starts to hum a bit of Gene Kelly, but with perfect drunken timing he slips on his sorry ass.

A piece of paper sails along the gutter towards him, gently nudging him at his feet.

John idly picks it up but his eyes go-wide as he reads what he’s been looking for: Sandra’s phone number”.

The action is deliberately spaced out but hopefully the language and tone makes it more enjoyable for the reader and gives them a better visual sense of what’s going on than the previous plain rendition.

Similarly, if the scene is from a thriller, you could go with:

“Rain lashes down in diagonal sheets, seemingly targeting John as he huddles himself from the weather’s direct onslaught.

He mumbles drunken misgivings at his plight, hiccups, and slips on the drenched pavement.

From the gutter, a piece of paper catches his eye and, picking it up, he can’t believe his eyes when he sees what’s written: “Kill John.”

You get the picture.

Space out the action.

Use fewer words.

But be evocative and visual in your expression.

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FYI: BBC Drama Series Writers’ Academy is opening its doors again. Closing date for applications: 15th May 2006. You can read all about my near miss last year, here.

Weekend Noticeboard

My American counterpart Scott the Reader recently opened the floor to any specific questions people had about script reading. As Scott puts it: “…anything you want to know about pro script readers, let it fly now. Any myths you want debunked, any burning concerns you need assuaged, any dumb questions you ever wanted answered.”

So I thought I’d ‘open the floor’ myself for any similar queries because it will help to generate future posts instead of me wracking my brain trying to come up with something useful to say. Just leave any q’s in the comments, or drop me an email.

Let me just reiterate for those who are new to the blog that this site is just my opinion borne out of seven years of professional script reading whilst also getting a writing career off-the-ground during the same time. The blog is about encouragement and helpful advice rather than any strict adherence to any so-called ‘rules and regulations’ of screenwriting.

Some of the below might be of interest - have a great weekend!

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Film London is hosting a series of roadshows at venues across the capital to promote its new micro-budget feature film fund scheme Microwave and provide advice to potential applicants. Places are free and will be allocated on arrival. Each event will include a general introduction to the scheme from Film London's Head of Production, Maggie Ellis, advice from successful low-budget film-makers and special industry guests, and a Q&A session. Further information can be found here.

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Visit Wednesday The Film, the first ever short film website designed to show the journey that a cast and crew undertake when they make a short film. Watch exclusive daily production and stills diaries to see how the filmmakers turn script to screen.

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Check out the latest opportunities at the BBC’s writersroom.

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ARE YOU A "GOOD WRITER?"

NEW DATE!!!!!!! Saturday 6TH MAY 10.00 am to 5.00 pm.
VENUE: St Columbas By The Castle Church Hall, Johnston Terrace, Edinburgh
COST: £65 (inc VAT and refreshments)
E-MAIL: info@meadkerr.com or call 0131 554 4539

Award winning Writer and Director Adrian Mead presents another in his acclaimed series of classes.

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McKEE: LONDON: 28-30 April 2006

ROBERT McKEE is the most widely known and respected screenwriting teacher in the world. Portrayed in the Oscar-nominated hit "ADAPTATION," named Hollywood's Most Wanted Screenwriting Teacher by Movieline magazine, and interviewed by "60 Minutes" correspondent Bob Simon for CBS News' Sunday Morning 2005 Academy Awards Special, McKee's sold-out Story Seminars teach the essential principles of screenwriting and story design that studios, production companies and publishers demand from their writers.

Please register soon to guarantee a seat as events do sell out.
Register by calling +44 (0)870 080 1833, or online at McKee’s official website with secure, online registration.

Fees:
£360 + VAT: Regular Fee
£460 + VAT: Writer's Special: Includes the Story Seminar + the latest version of Final Draft software (V. 7.1.1)
£235 + VAT: Repeater Fee: For former Story Seminar students

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TAPS Writers' Workshops - admissions open

TAPS, the Skillset-supported charity dedicated to nurturing new scriptwriting talent, are now accepting applications for their 2006/07 Full Length Script Development and Television Comedy courses. Full details and application packs can be found on their website.

TAPS will soon be opening up admissions for their new, ITV-backed, Nations and Regions courses as well as courses aimed at industry professionals. New for professionals this season is the Continuing Series Workshop, designed to help established writers make the move from 30-minute to 60-minute returning series. Application packs will be available from the website soon.

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Attend Lew Hunter’s screenwriting colony

Lew Hunter’s UK screenwriting colony will be held at the London College of Communications between 14 – 28 July 2006. The colony is an intense program for serious writers of all levels. This is a great opportunity for screenwriters in the UK to work with two well respected screenwriting tutors from the USA. Attendance will cost £1080 – follow the link for more information.

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Big Agent or Ickle Agent

From the mailbag: “One thing I feel people are interested is whether it's better to be at a big agency or a little agency. Just a thought. Also interested to find out how open UK companies are to Irish based stuff. I know they say they are, and they're very polite about it, yet I wonder.”

First, the Irish issue. Of course UK companies are interested in Irish scripts. Naturally, it all depends on what the project is and who you are but no-one’s going to reject a project based on its indigenous locale. It seems that Ireland’s best international export is comedy films that reinforce the stereotype of parochial charm. Grim dramas about ‘The Troubles’ and 19th century poverty are also quite appealing (or 20th century poverty if you’ve seen Angela’s Ashes). There’s a new wave of modern Irish cinema brewing from a lot of talented writers and filmmakers, and it’s very exciting, but it’s likely to remain under the radar for the most part.

However, if you’ve got an Irish script that you don’t think the UK companies are going to go for, then don’t send it to them. There are a few high-profile Irish production companies that would be more interested in reading such work, like Parallel, Element, Samson Films, Subotica Entertainment (all people I’m trying to forge relationships with as an Irish writer based in the UK). And of course, there’s the Irish Film Board itself who accept individual applications for development support. So yes, there’s a great deal of interest in Irish projects. Go knock ‘em dead.

Now, the agents. I would say that the main difference between the big and smaller agencies is that one is more interested in ‘selling’ and the other is more interested in ‘nurturing’. Obviously, if you’re with one of the bigger agencies, like PFD, Curtis Brown or AP Watt, then that’s great because the agents’ reputation precedes them and your script will bypass the spec slush pile. This doesn’t mean however that your work will instantly be bought, optioned or developed. I’ve read countless scripts from agencies all over town that have been complete rubbish.

The big agents are interested in the best writers because the best writers will make them money. You become the best writer when your work has both commercial and critical merit. Agents are interested in the scripts that have an instant and recognisable place in the market. When I was trying to get an agent, I had a lot of interest and meetings from agents saying ‘we like the writing, what else you got?’

In other words, they were saying ‘I can’t sell this. Come back to me when you’ve got a script I can sell’ (I didn’t at the time, just Run For Home which I had deliberately written as a sample but ironically has led to an award and development money). I think this is what it’s like with the bigger agencies. I would say that if you don’t regularly produce work for them to pitch and sell around town, then you might be in danger of being swallowed up and overlooked. Big agencies are great but you’ve got to have the same passion, hunger and body of work that your agent will be able to live and die on.

Smaller agencies on the other hand realise that new writers have to start somewhere and are keen to work closely with the client to ensure that their career develops in a way that they both agree is the best way forward. This could mean ‘starting off slow’; trying to get on TV shows, writing for Doctors, radio plays and the like. Of course, clients at the bigger agencies also write for TV, Doctors and for radio etc but in terms of ‘a feature screenwriting career’, it might be a slower build at a smaller agency rather than an instant ‘smash and grab’ at a more high profile place.

Usually, there’s a closer rapport and relationship between a writer and his ‘smaller’ agency. They’re able to provide feedback on the writer’s latest pitches and scripts, something that bigger agents sometimes won’t have the time for. I’ve seen a lot of scripts from reputable agents that would have benefited from at least another draft, not to mention a simple proof read for typos and spelling mistakes. And I’m sure we’ve all shared the experience of reading a script from a ‘hot writer’ from a ‘big agent’ only for it to read like a huge steaming pile of newbie poo.

Obviously, getting an agent can be one of the most difficult and frustrating tasks a writer can face but ultimately, it’s not about ‘getting an agent’ or whether it’s a ‘big agent’ or a small one, it’s about establishing and developing a proactive relationship that will benefit you both. It’s a never-ending topic though with a wide range of viewpoints and issues for consideration. I’ll try to get a Q&A with one of the more prominent agents to see if they can put any niggling questions to rest. If there are writers out there reading this who are represented by the big boys, do let us know how you felt when you started, and how it is now.

I Tube, You Tube, We all Tube

So, a big shout out to my short film, On the Death of His Wife, which I’ve finally put up on You Tube because, basically, I’ve only just figured out how to do it. When did I get so behind with computers, and t’internet, and links, and what not, when I thought I was pretty much on top of it? I still don’t understand exactly what I did but it works; you can check it out at the site or at the bottom of the post.

A brief recap on the short film and its production: last summer, I felt the time had come to ‘make something’ so I borrowed a camcorder from my friend and Leeds colleague Jayne Kirkham in the hope of making a no-budget short film. She had made the extremely successful no-budget short 6.6.04 with the same camera so that inspired me to do something similar. It had to be a story that could be made for nothing so I tried to come up with an idea to accommodate such a scenario.

My line of thinking was: what can I film that would cost absolutely nothing to shoot? That wouldn’t require any fancy set-ups or lighting or actors or whatever? The answers that came to me were: a guy in bed, cleaning up, washing up, ironing. Fairly drab and dull. But what if I could put this in an emotional context? Then I’d have a story. So I came up with the idea that the guy’s a widower and he’s thinking of his wife while he’s doing the domestic chores that they normally did together.

I wrote a four page script with no-dialogue but felt that the action alone wouldn’t carry the story so I went on-line and found a poem called ‘On the Death of His Wife’ which gave me the perfect emotional content to counterbalance what I planned to shoot. And gave me a good title too.

So I went to my cousin’s house in Bristol - he’s the star of the show in the film, isn’t he good? - and we got drunk. Then, the next day, Saturday, we shot the film. He was sleeping on the couch because his flatmate’s friend was staying over so I used him on the couch as a way to suggest that he’s not ready to sleep in his usual marital bed. From this, the story took on a shape of its own while I was shooting. The flatmate’s friend got on particularly well with my cousin, who let’s face it, fancied the pants off her (see video) so I asked her if she’d be in the film as that would give me something to use instead of the photographs I had planned to cut to as the ‘wife presence’.

It was an extremely fortunate development because their ad-libbing and natural rapport really lifts the piece. I shot an half an hour of footage and we were done by Saturday lunchtime. The next bit was the crucial editing stage but luckily I had my mate and top editor Liana del Giudice to help me (she’s done loads of great stuff, including Dr Who Christmas Special!). I went along to Ealing Studios where she was working and she squeezed me in over two nights to get the half hour footage down to ten minutes of shots worth using. We then pared it down to the current running time of 3mins 25 secs to simply tell the story.

Unfortunately, the sound wasn’t up to scratch and I couldn’t use my cousin’s voice-over of the poem so I re-dubbed it with my own voice. That didn’t work, too Irish, so I blagged a sound edit through a friend of a friend. He beefed up the sound while I got another friend, Mark Humble, an amateur actor, to do a proper rendition of the poem. I couldn’t give Mark an on-screen credit because the images were “locked off” but he, along with sound editor Anthony McIlhenney, saved the day when it came to the film’s completion.

So there you have it. The behind the scenes scoop of my first short film. You may have seen it already on this site or on FilmFour’s website (where it was chosen as Short of the Week) but if you’re new to the blog, then feel free to take a look.

Portfolio

When you start out as a screenwriter, you know it’s going to be difficult but your brain holds on to that twig of optimism that once you finish your first screenplay, you’ll get an agent and bosh, your career can begin in earnest.

If only it was this simple.

As a professional screenwriter, and as most readers of this blog will know, one script will not a career make. Completing that first full feature screenplay will be hard work and feel like a real breakthrough. From this, there’ll be hope that the tough slog of getting it done will be enough to earn you notice and applauds. However, in the gruff and gravel tone of the immortal Clint Eastwood in Million Dollar Baby: “Girlie, tough ain’t enough.”

If you’ve created the desire and momentum of The Push, it’s time now to elevate your game and increase your effort. It’s time to write more scripts. In other words: “what else have you got?”

This is the question that awaits you, more than any, from readers/editors/execs and agents. Yes, they’ll read your first script with interest and take a note of your careful craft, the emotional development of the characters and the overall discerning story arc of the screenplay, but it is rare for the powerful peeps to commit themselves to a new writer without seeing more than one script. They want to see more. They want to see your portfolio.

Having a portfolio of work doesn’t necessarily mean a whole range of scripts, outlines and treatments but it should be at least one other document that shows off your chops as a writer. A screenplay and a treatment. Two scripts. Three. A pilot and series bible for a new TV series. A book and an outline. Whatever. But it should be something that displays your current body of work and demonstrates that you’re more committed to writing than the 20,000 people in the queue who think, “yeah scriptwriting, I’ll give that a go, no problem, big money too”.

Flicking through my ‘portfolio’ this morning after the laziness of the Easter weekend, I noticed a folder marked ‘Put Aside Projects’. Sometimes my brain forgets the very filing system I’ve created for myself so with some curiosity, I clicked on the folder to see what was inside. Eight projects. Three full scripts. Five outlines. And about half a dozen pitches and one pagers. Some of which aren’t bad so I don’t know why I ‘put them aside’.

In my main folder, I’ve got fifteen projects at varying stages of development that I hope will bear some fruit at some stage. Four of these are feature scripts and the remainder a combination of outlines and TV work. So a broad snapshot of my portfolio would be: seven screenplays, seven outlines and six TV projects. Eight of these are in the ‘put aside projects’ so that should give a good indication that not all hard work can pay off or lead you to where you expected to be.

On my chalk board I’ve got nine projects written up that I’m currently working on. Some will hit, some will stick, some will miss. The point is to keep working. Don’t sit back and wait. The best way to wait for a reaction to a script is to start another. That way when the inevitable question comes at you - “what else you got?” - you can rally and reel with passion about the next exciting project you’ve just finished.

A screenwriter’s portfolio should be ever-changing, morphing and expanding. It’s sometimes easy to latch on to a favoured project and be unwilling to let it go, or get fatigued by rejection and lose that creative energy. The challenge and effort is to put all doubt and denials aside and just focus on getting more work completed. From this, opportunity will knock and when it does, you will be ready to kick down the door in order to let good fortune step inside.

Easter Noticeboard

A bumper noticeboard given the weekend that’s in it, plus really cool links to “New Websites for Screenwriters” courtesy of Creative Screenwriting. It’s a great list - almost makes this blog redundant - and essential for everyone in love or has a passing fancy with script. Scroll down to the bottom to follow the links. Have a great weekend, see you next week, fully refreshed and raring to go…

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As part of the Queer Up North Festival, Contact is doing a special Flip the Script called ‘Short Cuts’ for the Queer Up North Festival.

The deadline for submissions is Monday 8th May. If you’d like to submit something or know someone who might, please have them send scripts, monologues, or even dramatic poems to:

Punam Ramchurn, New Writing Co-ordinator, RAW, Rhythm and Words, Oxford Road, Manchester,M15 6JA

For further information call: 0161 274 0642

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ARE YOU A "GOOD WRITER?"

NEW DATE!!!!!!! Saturday 6TH MAY 10.00 am to 5.00 pm.
VENUE: St Columbas By The Castle Church Hall, Johnston Terrace, Edinburgh
COST: £65 (inc VAT and refreshments)
E-MAIL: info@meadkerr.com or call 0131 554 4539

Award winning Writer and Director Adrian Mead presents another in his acclaimed series of classes.

Professional writers know how to present themselves and their work. They understand that when having a meeting with a script editor or producer talking about the script is only one element of the process. The most important thing the exec is trying to establish is will they be able to work with you? What are you going to be like when they have to give you harsh notes or drastically shift the deadline? Being considered by the industry as a "good writer" requires more than just a good script.


A FREE 15 Page BOOKLET on many of the topics Adrian covers is also available at info@meadkerr.com.

WEB SITE: Mead Kerr

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McKEE: LONDON: 28-30 April 2006

ROBERT McKEE is the most widely known and respected screenwriting teacher in the world. Portrayed in the Oscar-nominated hit "ADAPTATION," named Hollywood's Most Wanted Screenwriting Teacher by Movieline magazine, and interviewed by "60 Minutes" correspondent Bob Simon for CBS News' Sunday Morning 2005 Academy Awards Special, McKee's sold-out Story Seminars teach the essential principles of screenwriting and story design that studios, production companies and publishers demand from their writers.

Please register soon to guarantee a seat as events do sell out.
Register by calling +44 (0)870 080 1833, or online at McKee’s official website with secure, online registration.

Fees:
£360 + VAT: Regular Fee
£460 + VAT: Writer's Special: Includes the Story Seminar + the latest version of Final Draft software (V. 7.1.1)
£235 + VAT: Repeater Fee: For former Story Seminar students

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Freelance Production Assistants required

Bristol based independent production company Silicon 19 is currently seeking freelance production assistants with demonstrable industry experience. Applicants should also be highly focused and organised, with excellent IT and communication skills. To apply send a copy of your CV and a covering letter to recruitment@silicon19.co.uk.


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TAPS Writers' Workshops - admissions open

TAPS, the Skillset-supported charity dedicated to nurturing new scriptwriting talent, are now accepting applications for their 2006/07 Full Length Script Development and Television Comedy courses. Full details and application packs can be found on their website.

TAPS will soon be opening up admissions for their new, ITV-backed, Nations and Regions courses as well as courses aimed at industry professionals. New for professionals this season is the Continuing Series Workshop, designed to help established writers make the move from 30-minute to 60-minute returning series. Application packs will be available from the website soon.

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Attend Lew Hunter’s screenwriting colony

Lew Hunter’s UK screenwriting colony will be held at the London College of Communications between 14 – 28 July 2006. The colony is an intense program for serious writers of all levels. This is a great opportunity for screenwriters in the UK to work with two well respected screenwriting tutors from the USA. Attendance will cost £1080 – follow the link for more information.

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Film Street

Bond producer Barbara Broccoli is supporting a new initiative to inspire very young film-makers. Film Street due to launch this month is an exciting new website designed to unlock the imaginations of six to nine-year-olds and introduce the joys of film. The site is packed with interactive activities, movie-making ideas and expert advice. A dedicated teacher and parent section provides a wealth of information, lesson and activity plans and downloadable resources.

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New Screenwriter Websites

Screenwriter Interviews
There is no better way to learn the craft and business of screenwriting than speaking with the best screenwriters working today. This site offers more than 150 complete interviews from the likes of Paul Thomas Anderson, John August, William Broyles, Jr., David Goyer, Brian Helgeland, Charlie Kaufman, Kenneth Lonergan, Christopher McQuarrie, Alexander Payne, Richard Price, Gary Ross, David O. Russell, John Sayles, Ron Shelton, Andrew Stanton, Ted Tally, and Nia Vardalos. This is an amazing opportunity to learn from these master storytellers.

Movie Scripts On-Line
A growing online database of over 400 movie and TV scripts, this site also offers links to additional articles and interviews for each script included. No transcriptions or html links here, only verified pdfs. And don't forget: you can always use the screenplay search function on the left side of every CSWeb page to find the screenplays you are looking for.

Scriptwriting Business
You have a finished script, now what do you do. Writer/producer Michael Lent presents his five-year plan for scriptwriting success including how to get past the studio reader, how to agent your own material, and how to work a meeting to your advantage. Writer/ producer Ron Suppa fills in the gaps in your knowledge base on becoming a working professional. This site also hosts a large archive of additional articles on the business of scriptwriting.

Screenwriting Resources
Hosts the largest database of current production companies accepting unsolicited query letters on the Internet. Check now for companies looking for screenplays in your genre. Includes information on all the best products and services for screenwriters. Software, consultants, script supplies, this site reviews the best of everything you need for your career. Site also hosts the last big roundup review of 24 screenplay consultants conducted by Creative Screenwriting, as well as software reviews and links to organizations that can help your career. Don't miss this great resource.

Script Sales
A free database of spec script and pitch sales dating back to 1995. See what types of screenplays have sold in the genre you're working in, or to the producers you're interested in working with. The database is also referenced by writer, agency, company, and keyword.

Screenplay Contests
Offers ratings on more than 200 different screenplay contests. Screenplay contests are one of the best ways to get your screenplay noticed by producers. Contest coordinator Anna Siri presents a comprehensive guide for entering and winning screenplay contests and interviews with contest coordinators and contest winners. Learn the inside information on how to win.

How to Write a Screenplay
Writer/director James P. Mercurio presents a step-by- step approach to writing your first or fiftieth screenplay. Don't miss the huge archive of over 100 articles on all aspects of developing your screenwriting craft.

Entertainment Industry
Writer/producer Heather Hale presents a step-by-step guide to how the entertainment industry works. Soak up years of learn-as-you-go knowledge in one sitting as she explains the power relationships in Hollywood.

Screenwriting Message Boards
A place to ask for advice from fellow aspiring writers and professionals, or to share tips. This site also hosts job boards for writers who are interested in working with independent and new media directors and producers. Don't miss this opportunity to build your career and network with fellow filmmakers.

AAA Screenplay Contest
Sponsored by Creative Screenwriting, the AAA Screenplay Contest is held twice a year (June and December) and offers big prizes and access to more than 320 production companies, agencies, and managers for its winners. Only $40 to enter.

Screenplay Format
You have to look professional to be considered in Hollywood, but the intricacies of screenplay format can be baffling even for seasoned writers. This site presents the standard screenplay format and answers your questions.

Screenplay Treatment
What is a screenplay treatment? How can you use a treatment to pre-write your screenplay? Can you sell your story on the basis of a treatment? Writer/producer Michael Halperin lays out an approach you can use to writing treatments for your feature and TV scripts.

Screenwriting Books
The number of books available on screenwriting is staggering and it can be difficult to decide which ones would be the most beneficial for your writing and career. This site contains detailed reviews of more than 200 books for screenwriters. Check what the reviewers have to say before you buy.

Screenwriting Expo
Held October 19-22, 2006 in Los Angeles, the Screenwriting Expo is the largest conference for screenwriters in the world. Offering four days of A-list speakers, pitching, networking, and more than 300 seminars, the Expo is the one event that every aspiring screenwriter shouldn't miss.

TV Screenwriting
Do you want to get paid? Do you want job security? Do you want control over your vision? Then television writing is for you. Veteran TV writer and producer Catherine Clinch presents her method for writing a TV screenplay from concept to production, discusses how the networks and studios work, the rules of two, four, and seven-act scripts, and how to approach writing a spec for an existing show.

All of these sites are free and presented by Creative Screenwriting magazine. Enjoy!

The Push

A lot of people want to be writers. The desire to express a story, and get paid for it, is an attainable dream. After all, there are no qualifications needed and no expensive tools required. All you need is a pen and paper, and your creativity to come up with a good story (that’s the hard part). Yet for the majority of new or aspiring writers, the most commonly heard phrase is: “I don’t have time to write”.

And they’re right. They don’t have time to write. It doesn’t matter who they are and what they do (frazzled single mother of four, hard working corporate exec, fresh faced graduate), the fact is that they want to write but they don’t have the time to fit it into their schedule. This is perfectly acceptable and reasonable. A lot of professional writers and lecturers, and perhaps even blogs, will say that the phrase “I don’t have time to write” is a poor excuse for not actually sitting down to do the work.

This line of thinking is an easy superior position to take. It’s unfairly focusing on the person’s perceived lack of commitment to stick to their goals. Professionals can sniff at the wannabes that the difference between writers and those who want to write is that writers write (I’m paraphrashing Martin Amis here). There is no question that this statement is true but just because someone says “I don’t have time to write” doesn’t mean that they’re slacking off from actually scribbling something down.

People work their ass off to make ends meet, pay their bills, feed their kids, love their partners - y’know life - and this kind of demand can drain the creative energy that’s necessary to write. In this instance not having the time to write is genuinely true and fair: “I’m exhausted, I’ll get to it next week.” However, the phrase is misleading and subconsciously damaging. It’s time for the phrase “I don’t have time to write” to be turned into a question: “How do I find the time to write?” The answer is The Push.

The Push is the extra drive and commitment necessary to turn the writing hobby into a career (or at least a regular hobby). It exists on two levels: one for the aspiring writer and the other for the professional. The aspiring writer needs to find The Push in order to discover their writing routine. The professional writer needs The Push when he’s obsessively checking emails every thirty seconds and staring in front a blank page for two hours. One is trying to find the time to write, the other is trying to make the best use of the time that they’ve created.

If you’re an aspiring writer, there are a couple of ways to find the time to write:

1. Compromise
No time to write but have enough time to watch your favourite TV show? Tape it. Write. An hour a day, after dinner, before you go to bed, whatever. If you’re not generating the creative momentum and energy you crave and feel that one hour isn’t enough or too frustrating, then get up earlier at the weekends or stay up later. Lunch hour usually spent with Pete chatting about sports & TV? Tell him sorry, not today fella, and scribble down some thoughts while you munch your sandwich. Find the gaps in your week and plug them with writing time. Get into the swing.

2. The Extreme
Give up your full-time job. Write. Married with kids? Explain your frustration and passion to your partner, see if you can find a way to make it work. Embrace a total lifestyle change and a whole new set of compromises. Get a part-time job if necessary but ensure that writing takes up the majority of the working days. (This is what I did: I gave up my job. Started writing. “Whoops, how am I going to pay the rent?” Read scripts. Earned pittance but enough to pay the bills, and it immersed me in the craft of screenwriting, so it felt like writing full-time.)

For the professional writer, here are a couple of ways to avoid procrastination or the desire to switch on the PlayStation:

1. Random Notes
If you’re working on a story but don’t see a way in or you’re stuck , try scribbling down some random notes about the character or what the general plot-line is, then try to use this as a ‘snowball effect’ to generate the required momentum to get into the story proper. The brain may be feeling resistant to such activity but soon, two hours pass by and you’ve made some progress. Trying to write outlines for Doctors particularly works well in this regard.

2. Sod It
Turn on PlayStation. Only joking. It’s ‘Question Time’. Prepare a little Q&A for yourself but make the questions specific about the characters and story that you’re currently avoiding working on. Questions like: “How did I get this idea?” “Why do I think it’s a story worth telling?” “Does it really excite and/or interest me?” “Do I think it will excite and/or interest others?” “Would I want to be friends with the main character?” “What’s at stake?” Etc. Then turn on PlayStation.

Obviously, these are tips and methods that work for me so they might be useful to try if you’re stuck or struggling to find the time to write. A lot of readers of this blog are committed and professional scribes so feel free to share your writing tips and methods. I find all kinds of advice and approach can be inspiring and encouraging but it all boils down to one incentive really: getting The Push.

Scribosphere

I’ve never liked the word, and I promised myself I would never use it but it’s there, you can’t ignore it so I might as well suck it up and plonk it in my dictionary. The ‘scribosphere’ represents, as far as I know, those writing/screenwriting bloggers all around the world. Geeks like yours truly who eat, sleep and breathe screenplay and feel they have to talk about it to a group of on-line strangers. I thought I had exhausted all internet avenues of screenwriting malarkey but how naïve was that?

It’s ever-expanding and the scribosphere’s population grows by the second. You may have noticed some Spring cleaning in the sidebar, all links neatly rounded up into geographical region, but a few more newfound bloggers (to me) have been added to the list. I try to keep up and post a link, as it’s good to share but the ‘All With Endless Links to a Wealth of Other Top Blogs’ is a reminder that each blog tangents off into a whole host of interesting sites and links, so if I don’t have your link the chances are I’ll find you one way or another. And I do want to find you as I enjoy my on-line procrastinations. Hell, I need them.

It’s funny though when you’re in stuck in the trenches of being a freelancer, burrowing away on whatever you’re working on, and someone shouts loud enough so that you stick your head up to see what’s happening in the real world, and what do you know, it’s Easter. There are two Bank Holidays this weekend. And it’s like, Bank Holiday, hold on, what’s that, I’ve heard of it before, don’t tell me, it’s coming to me…yes, it’s…A DAY OFF! And then the screenwriter freelancer laughs at the humble civilians and their whacky habits, and trundles back into the safety of his trench.

This week has been focused on finishing the EastEnders spec episode, which I’ve really enjoyed doing, and doing a rewrite with Sam on one of the animation pilots we’re working on. Interestingly (or probably not), these two gigs are for free but the buzz and focus the projects generate far outweigh the fact that you’re writing for nowt, and there’s the very real prospect of both opportunities paying off with potential commissions down the line.

My new spec horror, Origin, has been optioned with a keen producer whom I very much like and we’re preparing to take the script to Cannes and in the meantime, we’ve applied for funding from my good chums at the Irish Film Board. I’m one of their script readers so it’ll be interesting to see how they react to one of my submissions. They know all about me of course and knew the day would come when I would apply but they’re quite tough and astute on their funding decisions so I’ve got my fingers crossed that they’ll view my script in a favourable light.

I’m really excited by this script. At the moment, I’m down as the director too, which makes my heart do a somersault of joy but while it would be a dream come true to direct this script, it’s certainly not going to be a dealbreaker as I’m practical and realistic enough to understand that what’s important is that the project gets made. That’s the key. I still haven’t heard back from Parallel about my rewrite of Run For Home, and the extended silence increases the likelihood of the script’s development coming to a close. But who knows, maybe they’re busy and still want to keep the project alive, I’ll let you know what happens either way.

Stay low, move fast people.

Know Your Cuts

Back in the day, I was an assistant in Channel 4’s comedy department where my bosses developed, commissioned and worked on some top shows that included Spaced, Ali G, Smack the Pony, Chris Morris, Comedy Lab etc. One of the shows in the comedy stable was Chris Evans’ TFI Friday, the hit entertainment show to kick-start your weekend every Friday at 6pm.

The problem with the show was that it was live and due to the carefree presenting style of the host, some of the guests would be very drunk and use language wholly unsuitable for its pre-watershed slot. And so, after a heavy rap on the knuckles from the ITC (Independent Television Commission), and a fine, TFI Friday was recorded ‘as-live’ on Fridays at 5pm for its broadcast at 6pm. The reasoning behind this was so the show could retain its spontaneity but any rude words or inappropriate content could be cut out before transmission.

As an assistant in the department, one of your duties was to edit the bad language from the show. Every Friday at 5pm, you would toddle town to 124 Facilities in Channel 4’s HQ on Horseferry Road, sit yourself in an editing booth with the Duty Lawyer and jot down timecoded references to anything untoward. Then during the ‘ad breaks’, you would feverishly try to edit the offending item before the next part of show began, and have the tape ready for broadcast. This often led to some hair-raising shouts and panics as once, a runner literally got our edited tape to MCR (master control room) with only seconds to spare!

Some assistants expressed reluctance at this editing task, usually shared on a rota, but I loved it. I had sat in editing rooms before and watched an editor/director assemble their footage but this was my first experience of actually choosing which shots went where to ensure ease of continuity. Basically, what it came down to was not just jotting down when the bad language was said but you also had to keep an eagle eye for any suitable cutaways that would help the editor when he was chopping out the wayward f**k.

And so cutaways and inserts became the routine. There was another assistant who was quite competitive within the department (there were four of us) and sometimes he would go to the TFI studio while I was in the C4 booth and he would phone me up during the ad breaks and tell me where the good cutaways were which coincidentally I had scribbled down myself too. Whatever. Bygones.

Anyway, what I didn’t realise then was that this was essential and basic training when it came to screenwriting. Someone once told me ‘know your cuts’ in your script and I didn’t know what he meant. An editor-friend reiterated this advice when she bemoaned the quality of scripts she received, and how she and the director would tear their hair out in the editing room trying to generate the required pace and momentum from scene-to-scene.

‘Know your cuts’ refers to the pace, rhythm and tempo of your story but specifically, the key transitions from scene-to-scene. In other words, try not to end a scene on a piece of flat drama or loose end because it will only leave the next scene to trudge and work hard to apply its dramatic interest on the audience. The pace will be too even and sluggish, making the script a difficult and detached read.

Some basic tips to ensure smooth transitions and clever cuts include using the same SOUND that ends the previous scene to carry forward the beginning of the next. MATCH-CUT an image to a similar image (this is done all the time, everywhere, just sit down in front of the TV for 20 minutes and you’ll see loads). JUXTAPOSE SOUND and/or IMAGE from one extreme to the other, if applicable and appropriate for dramatic effect.

The interesting aspect of this technique is that when you apply it into your script on a conscious level, say in your first draft, the energy and momentum of actually writing the story becomes heightened because of the smooth links from scene-to-scene. In other words, attention isn’t flagging and the story is moving along nicely. It’s not necessary for EVERY scene to run this way but it can prove extremely useful to be aware of this technique, especially when you’re a spec writer no-one’s heard of and you want an anonymous stranger exec to like your script.

Whenever I read a script that did it smoothly and effectively, I always made reference to it in my report. It shows good awareness of craft as well as having the talent to use it wisely within the story, and it makes for easier reading.

Now, what if I cut out the third paragraph and replace it with the second last paragraph so that the post reads shorter and more to-the-point…and… CUT.

Script Vs Film: The Three Burials of Melquiades Estrada

In an alternate universe, James Lipton hosts ‘Inside the Reader’s Mind’ where instead of his usual gushing appraisal of his guests in his ‘Actors Studio’, he interrogates script readers on their choices to hail or dismiss a script. A fawning tribute to an A or B list actor transforms into a devilish cross-examination that would make Olivier’s Nazi dentist proud. He would shine a light into your eye, tease your finger tips with pliers and repeat: “Is it good?” until you had gone through every conceivable range of answer to try to defend your script report and to satisfy his curiosity.

And so to this week’s Script Vs Film. Tommy Lee Jones’s directorial debut of a script written by Guillermo Arriaga (writer of 21 Grams & Amorres Perros). This is an interesting one because if it had come through the spec pile, then it would have been singled out for its discerning style and absorbing plot. However, when reading scripts for ‘acquisition’ purposes, a reader’s critique is heightened towards the final product of the film rather than trying to find the development merit in the material.

Ironically, this results in high-quality scripts by high-profile writers/actors/directors getting an unforgiving critical once-over in order to help the exec decide whether he should buy or pass. The script isn’t living or dying on the reader’s recommendation - it’s already made it through the development process and has attracted all the talent so now it’s time to pucker up to see if it’s any good or not.

Here’s my logline: “An illegal Mexican immigrant gets accidentally shot by a Border Patrolman but the immigrant’s friend takes the patrolman hostage in order to give his dead friend a proper burial.”

And here’s my brief: “An interesting tale told with Arriaga’s trademark flair for a disjointed structure but the characters and situation don’t make the story that rewarding or worthwhile.”

My assessment (spoilers beware): “As you might expect from the writer of Amorres Perros and 21 Grams, this is an intelligent and brooding affair about a group of characters whose lives all interconnect in a dramatic fashion. Writer Guillermo Arriaga’s style is distinctive and difficult to emulate as he plays with his structure and timeline to present a jigsaw story where not everything is straightforward or clear.

This kind of drama keeps the audience, and script reader, on their toes as you really have to focus on what’s going on to keep track of who’s who and what’s what. The script doesn’t define itself between the PAST and the PRESENT. Instead, it presents itself as a conventional narrative but as the drama unfolds you start to realise that the scenes are jumping around with their timeline and structure. But while this structure is distinctive and potentially tricky to understand, it is simple and clear in its essence.

Arriaga is a fan of a triangular structure where he takes three story lines and interweaves between them all to present his story. It’s an effective and award winning approach. In this script, the premise and story line is not as intriguing or dramatic as Amorres Perros and 21 Grams but it’s definitely got a discerning edge.

The title gives you an idea on the essential structure of the piece. The Three Burials of Melquiades Estrada forms the basis of the narrative and the script even captions these sections to let us know how and why Melquiades has been dug up each time. The first time he’s buried, it’s to cover up his murder. The second time he’s buried is after his autopsy and the last time he’s buried is by Pete, his friend, who honours Mel’s request to be buried in his hometown.

There is one additional section to this ‘three burial’ structure and that is ‘The Journey’ where Pete takes Mike hostage and they make their trek to Mexico so that they can bury Melquiades. So, the script would seem to have four acts and within these acts, it focuses on the characters that had a close or fleeting connection with Melquiades before his death.

By doing this, we are able to get an insight and understanding into separate characters and events – Pete’s affair with Rachel, Lou Ann’s brief fling with Melquiades, Mike’s personal guilt over the ‘murder’ and his frustrations at his new job and failing marriage. It makes for an intelligent and assured screenplay but despite its credentials and elements attached, it doesn’t make the impression that was first anticipated.

After all is said and done, this comes off as a bit flat and anti-climactic. The scenes and drama don’t pack enough punch to have satisfying entertainment value and while the attention to character is great, the pace and mood seems to fall in love with itself a little and the story tapers off considerably. There are some interesting moments between Pete and Mike when they’re on their journey to Mexico but there’s no twist or earth shattering revelation about the characters to make the drama truly stand out.

All the revelations and character foibles had been covered before the script’s final act and while there is a twist regarding Melquiades’s hometown and family (he apparently lied about both), the story comes to a close with a disappointing resolution. Pete’s friendship with Melquides was just developing so Mel’s generosity while they were mates wasn’t enough to justify Pete’s quest to honour Mel’s wishes. There just wasn’t enough validity in Pete’s obsession with Melquiades or why he thought so much of him. It’s interesting and alternative fare all right, and deserves some attention, but it’s probably not for you.”

Weekend Noticeboard

FAST TRACK FILMS presents in association with the NPA (New Producers Alliance)

INSIDE FILM & TV INDUSTRY SEMINAR
Friday 21st April 2006
9.30am - 5.00 pm @ SOAS Brunei Gallery - Russell Square London

For more information and to book please click through to our website:- Fast Track Films, where you can secure your ticket for this unique event at the reduced price of £ 99 .00 plus vat. A unique one day Industry event for you if you want to be successful in the UK film and TV industry. Designed by film makers for new film makers. Aimed at rookies in the industry or maybe you want a change of Direction. Learn from the experts. Find out to how avoid costly mistakes that people don't tell you.
Email: info@fasttrackfilms.co.uk or call us 0870 919 2801

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9 POINT PRODUCER TRAINING PART 8: LOCATION, SHOOT, HEALTH & SAFETY
Tuesday 25th April
18.30 for a 19.00 start
BAFTA, 195 Piccadilly
FREE NPA/BAFTA Members, £20 Non-Members
The nuts and bolts of production.

Concentrating on the shoot itself. We will be looking at location issues such as health and safety, Police matters and liaising with the Borough film officers. Also on the agenda will be insurance issues and solving practical location problems. With so much work already taken care of, you would be advised to pay attention to these matters, alongside other potential pitfalls such as catering, working with stunts and making sure you have enough of the right kind of on set photographs to make your shoot as beneficial to you in the long term as possible.

What is the detailed role of the location manager / line producer / and production manager on the set?. What does the 1st / 2nd ADÌs take responsibility for and how do you work with the HODÌs to ensure a smooth shoot?

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FEATURE LENGTH SCREENPLAY READING: "Pretending to be American".

The East London Comedy Script Writer's Group is hosting a screenplay reading on April 8th, at the Pitcher and Piano, 69-70 Dean Street in Soho.

"Pretending to be American" is a romantic/comedy about a lazy, American man, Ronald, forced to travel to India, to find his mother when she gets kidnapped by the great Robert Clive. While there, Ronald falls in love with a girl and then looses her when he's unable break free of his domineering mother.

Underneath the comedy the film is a reflection upon the hopelessness many now feel when they think of America. In 1919 Britain was at the height of its power. It was the center of an Empire which covered over 25% of the world's land. But in a generation the Empire was gone. Today the call centers of Bangalore are filled with Indians pretending to be American. But tomorrow they may no longer need to pretend. For tomorrow they may actually be the Americans, and America itself may become like Britain, a sort of shadow of a once great Empire.

The script will be read by a cast of 10 actors and comedians. This script is now in a "finished" state, and will go into to preproduction during the summer of 2005. The film is to be shot in India. We have raised about half of our estimated budget and will soon be looking for the remaining financing. This project represents an opportunity for a producer who would feel comfortable dealing with an international project which spans America, Britain and India.

Please RSVP, to script_reading*at*leapingman.com

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CALL FOR SHORT FILMS! – Propeller TV

Propeller TV is a new national channel for film and television talent and will be able to offer a free European platform for filmmakers to showcase their work on SKY when launched on Channel 289 on February 6th. As a non profit making company, working closely with regional development agencies, and the Sector Skills council, the channel is available as a broadcast resource to help further the careers of new film and television talent.

Funding from the Digital cluster, learning and skills council, higher education funding council (through the NTI), and from the industry itself, means that there is no cost for airtime, or linked web promotion. Any of the sponsorship being offered to the channel will be re-distributed via appropriate screen agency networks into a filmmaker production fund.

The channel, classified by SKY as part of the entertainment genre on the EPG (Electronic Programming Guide), will sit along side the likes of BBC3, E4 and Bravo as the outlet to see first broadcast talent. Content produced by screen agency supported independents, film and television training centres of excellence, film festivals and new film making initiative will showcase a vibrant mix of original unseen programming.

The Film First strand of the channel is looking for short films to be considered for broadcast. They can be any length and genre. You don't have to be Spielberg to be considered for the channel, you could be an independent filmmaker or even a community-based group.

Please send films (DVD preferred) for broadcast consideration to:
John Offord,
Propeller TV,
c/o Screen Yorkshire,
46 The Calls,
Leeds
LS2 7EY

For more information please visit Propeller TV.

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Raindance Film Festival Opens For Submissions

Hard to believe, but it's that time of year again. Time for us to start accepting entries for this year's festival.

Festival dates have been set for 27 September to 8 October, and we'll be taking submissions from now until July 1st.

Whether you have a short, a feature, a music video, a documentary or a kids film, we'll happily consider it - to find the submission form, along with the rules and regulations, please click below.

Click Raindance for details.

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Coming Up

Coming Up is the only talent scheme currently in the UK where new film-makers have the opportunity to make an authored drama with a guaranteed network broadcast. The scheme is run by Channel 4 and IWC Media in partnership with Skillset. Coming Up is looking to make 8 challenging and individual films from the best new talent in the UK.

We'll be looking for bold ideas, strong voices, originality, ambition and wit. Each film will be for a ½ hour C4 slot and must: push boundaries in a way that wouldn’t / couldn’t be done in mainstream drama; be contemporary; be shot in 4 days on a limited budget; and be largely, but not exclusively, young and urban. The closing date for applications is 18 April 2006 – see the following links for more details:

Coming Up

More…

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Skillset, Samuelson launch new scheme for emerging producers

UK training body Skillset and production company Samuelson Productions have launched a new producer training programme.

Skillset and Samuelson will select eight up-and-coming producers and place them in a rotation at some major film companies for nine months.
For more information visit New Producer Training.

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Straight Curve is running four week courses designed to give students who have finished their studies the opportunity to make and own their own 10 minute short movie without having to spend money on equipment and without having to search for a production team to help them. Further information can be found at Straight Curve.

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ROCLIFFE NEW WRITING FORUM IS BACK

on 2 May 2006

With Producer Robin Gutch

of Warp X Films as co-chair

MORE DETAILED EMAIL TO FOLLOW

To book your ticket email bookings@rocliffe.com State whether you are an actor or writer, director, producer or development executive

Rocliffe New Writing

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The Wormhole Saloon III at The Whitechapel Gallery

On 23rd of June, an intensive evening of surround sound installation and visuals. CALL FOR PROPOSALS for visual art, arty shorts, surround sound work or installations. Email proposals to newtoy_productions@yahoo.co.uk
Deadline: 28th April .
More info on New Toy

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Global-Eyes intern for the Summer session - 10 June - 25 August 2006

We are now in the process of reviewing and accepting applications for this session. Please note that we have a new website and address at
Global Eyes World.

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Have a great weekend everybody.

The Oscar 154

Jake Barnes has kindly shared his rejection for this year’s Oscar Moore competition (in which they’ve announced they’re not going to have a winner at all). It’s fascinating stuff, and will probably provoke a wide debate on the quality of UK screenwriting that everybody bemoans about around award season. Here’s the rejection:

“It has been an interesting year for the competition for reasons that I will come onto, but you might like to know that yours was one of 154 scripts submitted; showing a continued high level of interest in the competition and evidence of the standing that this Oscar Moore Screenwriting Prize has now come to enjoy.

As in previous years, all the entries were carefully considered by a panel of approved readers before being passed for second-reads and ultimately for the eventual short-listing by the judges. It is a long and careful process, as you would expect.

This process has reached its conclusion now and I have to inform you that The Oscar Moore Foundation has decided not to make an Award this year. There will be no winner of the Oscar Moore Screenwriting Prize in 2006.

As trustees of the foundation (as well as judges), the final panel has the responsibility of ensuring that the good standing of the Oscar Moore Screenwriting Prize is maintained and its judgements are consistent with the qualities of previous winners. This year, though a number of scripts were deemed notable either for the quality of writing or originality of premise, it was the final opinion of the judges that none reached the requisite quality to merit receiving the prize this year. It is noted that ‘comedy’ is often claimed as one of the hardest genres to write for.

As disappointing as this news is, it is only by reserving the award in years where the requisite standards are not achieved, that The Oscar Moore Screenwriting Prize can continue to be a mark of high attainment and a competition worth winning.”

It’s an incredible ballsy decision by them not to give the award to a script they thought was better than the rest, after all, isn’t that what a competition is about? As an independent observer, I can respect and admire their choice but for someone who’s entered, this decision must be the most hair-tearing and frustrating announcement ever received. It’s got to be exceptionally disappointing to think that your script is good but not good enough to beat a lot of scripts that Oscar Moore has deemed mediocre or rubbish.

How could this be? The question needs to be asked. Everyone has read at least one screenplay book and attended an equal number of courses. They know the craft, they know the procedure, so what is it about this year’s entries that have failed to make the grade?

Comedy.

As the chairwoman of Oscar Moore says herself, it is the hardest genre to write for. A comedy script has to make you laugh. End of. Unfortunately, ‘comedy’ is the Lord of Personal Taste, proudly chuckling over his subjective kingdom while his loyal subjects ‘Drama’, ‘Thriller’ and ‘Horror’ scurry around in the forecourt. It’s usually easier to make something dramatic, thrilling or scary than it is to actually make someone laugh.

But what about the Oscar Moore competition itself? Let’s break it down: it’s the UK’s leading and highest profile screenplay competition. It doesn’t cost anything to enter (a donation can be made at your discretion, no-one’s putting a gun to your head) and there’s a great song and dance within the industry once the winner is picked (ahem, usually). They give you ten grand and you get to meet just about every mover and shaker in the biz at their award party, which doubles as a film quiz (usually hosted by Jonathan Ross).

Then they send you to Italy with Arista for an intensive development session and after all that exposure and hijinks you’d probably get an agent if you didn’t have one already, and you’d option your winning script with a production company (but to-date no winning script has been made).

It really is a terrific opportunity and a great prize. But only 154 people entered a free and extremely high profile competition?? A genuine chance to get your career off the ground? And all they wanted was one good comedy script but not one screenplay could tickle the judges’ funny bones? Oh dear. This is not good. I don’t know if the announcement will be of interest to anyone outside of the industry - whether it will get a mention on any news item anywhere - but it’s not good news for new writers.

I doubt that an award jury would choose NOT to pick a best director or best comedian from similar minded competitions because it just wouldn’t wash. But for writing, and screenwriting in particular, it seems it is easy to target the writer and say: “sorry, not good enough, we’ve got standards y’know.” Wait till you get a chance to read a couple of comedy scripts that are on companies’ development slates. Some of the howls you’ll hear won’t be of laughter; I can guarantee you that…

Heartfelt commiseration to the ‘Oscar 154’ (let’s coin a phrase shall we?). At least you tried.

Tax Expenses

It’s the end of the tax year today. Yippee-doo. On the up-side, my days of gnashing over a tax return and ripping anonymous receipts in total frustration are over. After four years of filling out my tax return (on-line, very handy), I’ve decided ‘sod it, I’m not doing it anymore, let someone else deal with the stress’ and I’ve signed up for the services of a ‘showbiz’ accountant.

Basically, if your self-employment earnings don’t exceed £15k then the tax return is relatively easy to fill out but if you’re a gobshite moron nincompoop like me, then it’s best to get someone to do it for you. Joking aside, the on-line tax return is pretty much a doddle and easy to use but now that my earnings are cranking up all the way over the £20k mark (I’m typing this by the pool), my brain just can’t compute those kind of wild and crazy numbers.

Part of this afternoon was spent trying to arrange and fathom my receipts in a way that my accountant might understand so regretfully, even when you have an accountant you can’t just sit back and expect them to decode your slips by mental telepathy (why not goddamn you?). You have to keep a basic record of your incomings and outgoings (check out the basic Self Assessment post I did yonks ago for more info).

So, here’s a helpful list of what you can or might be able to claim as ‘expenses’. I’m off-loading my receipts to my long-suffering better-half so she can crunch the numbers and I can focus on my spec for EastEnders.

Expenses for Screenwriters:
Consumables/materials
Rechargeable expenses
Agent’s commission
Sub-contracts/assistants
Secretarial
Office/studio overheads (even rehearsal room hire)
Repairs/renewals of equipment
Computer costs
Scripts/books/trade journals (incl subscriptions)
Telephone (75%)
Mobile phone
Internet services
Printing/postage/stationery
Insurance
Motor expenses (75%)
Hire purchase interest on car (75%)
Travelling/accommodation
Advertising/photographs
Accountancy
Bad debts (is there a “good debt?”)
Bank interest/charges
CDs/DVDs/tapes (50% or more)
Theatre/film/exhibition tickets
Television licence/rental (50%)
VCR rental
Coaching/courses
Gratuities

A Nicholl for your thoughts (or script)

Did I read somewhere that this year’s Oscar Moore screenwriting prize (run by Screen International) has been unable to choose a winner because the scripts entered weren’t up to the judges’ standards? The genre for this year was ‘comedy’. I didn’t enter but it’s the UK’s highest profile screenwriting competition and it really is a great contest with a nice cash prize and huge industry exposure, so it'd be interesting to know what's going on.

For those of you who wish to extend your career beyond these shores, then you should check out the Nicholl Fellowship straight away. It’s an international competition, very high profile. Read about its history and background here if you’re unfamiliar.

My subscription to Shooting People is going to expire soon and with every waning subscription, it has to be reassessed on merit and cost. Normally, I would re-subscribe to SP as they provide a great service but my time and money is focused elsewhere at the moment, so I’m going to leave it go for a while.

However, I’ve decided to throw in a ‘pitch’ before my subscription expires, just to see what happens when you put one of your stories in for their pitch bulletin. Below is my pitch and naturally, all reaction and progress, or non-response, will be duly noted in the blog.

Title:
The Devil's Punchbowl

Genre:
Low-mid budget horror.

Logline:
Three thieves unravel the murderous myth of The Devil’s Punchbowl in Hindhead, Surrey, but unearth something far more sinister than they could have imagined.

Tagline:
Desire. Avarice. Murder.

Story:
On Sunday 24th September, 1786, an innocent sailor was viciously murdered by three assailants after a night’s drinking at a local inn. They flogged and whipped him to death with branches, almost severing his head from his body. On 17th April, 1787, the three murderers were hanged in Hindhead and their bodies were suspended from a wooden gibbet. A memorial stone now lies at the site of the murder in The Devil’s Punchbowl, a vast hollow in the area.

Since that fateful night in 1786, it is said that the ghosts of the three murderers roam the area, forced to return to the Earth on dark nights as punishment for their crimes. And now, in the present day, three thieves on the search for lost loot are going to find out the secret to The Devil’s Punchbowl for themselves.

Outline:
Full outline available.

Script:
First act of screenplay available.

An Introduction to EastEnders

Today was spent in Elstree Studios, home of BBC1’s flagship soap EastEnders. Together with nine other writers, I sat and listened to the wise and witty words of Tony Jordan, legendary TV scribe, who had golden tips on writing for the show (he’s written a gazillion episodes, and has gone on to co-create and write Hustle and Life on Mars, etc).

We had all been invited along as an opportunity to write for the show but in the producers’ and script editors’ experience, a lot of new writers struggle with the content and the process so these ‘induction days’ have been organised to help people through the first stage.

The first stage is to write a spec episode, for free, to see if you can accommodate the demands and style of the show (it seems everybody has to write a spec episode for free to get into any show these days). Fuelled with Mr Jordan’s advice and encouragement, the prospect of writing an episode is slightly less daunting, but no less a challenge, and I look forward to getting my teeth into the spec. The broad story detail will be provided; we have to fill in the blanks.

We spent most of the day in a boardroom discussing the do’s and don’ts of writing an episode and it was only after lunch, when we were touring Albert Square, did the real excitement and realisation kick in: “I’m in Albert Square!” It’s much smaller than it looks on-screen but it’s also surprisingly pretty. No filming was taking place so I didn’t get a whiff of a celeb.

Nevertheless, Tony Jordan spoke with considerable insight, inspiration and passion regarding the show. His top tips on writing an episode follow general storytelling practice but they broke down like this:

* Get your hooks in early
* Subvert expectation
* Establish dramatic need
* Put obstacles in the characters’ path
* Take the characters on a journey
* Ensure relevant turning points are in place
* Character = Action
* Set ups must have pay offs
* Sometimes ‘on-the-nose’ is OK (sometimes!)
* Get in late/out early
* Be small to be big
* Love your characters, and treat them with the respect they deserve
* Avoid exposition
* Show don’t tell
* Does any given scene move the story forward or reveal character or does it simply entertain (or all three?)
* Rules schmules

I think the opportunity for me to attend the briefing came about because I recently spoke with someone who I worked with on Doctors (see the Nice People post) and he now works for EastEnders. Also, my 2nd broadcast episode of Doctors elicited an appreciative comment on the channel’s “duty log” (which is rare apparently) and may have prompted Lorraine Newman, series producer on EastEnders, to recommend me as a potential new writer for the show (I had worked with her on my first ep of Doctors).

Got all that? It’s only a guess anyway. To be honest, I don’t know who recommended me but I got the call and that’s all that matters. Naturally, I’ll keep you posted on how my spec goes… I’m really looking forward to it. Really knackered now as it's been a long day (5.30am start) so must sign off...