“What is the collective noun for a group of screenwriters?” asks David Pearson, Director of the UK’s inaugural Screenwriters’ Festival. “Good screenwriters are lions. This is a rare concentration of film and television writing talent, and for me the only way of describing screenwriters in the plural is as a pride.”
It’s a nice thought and a good collective noun, but I think I have a better one: a desperation of screenwriters. This is not meant to be glibly dismissive of our craft but more of an accurate description of what it’s like for both successful and aspiring writers alike.
Cheltenham Film Studios is neatly tucked away just off the M5 and its dreary roundabouts. In contrast, the studio exists in a picturesque setting, with an impressive mansion house and opulent gardens. I was attending on a Day Pass, as the cost of full attendance was far too expensive, and the night before I had stayed with Sam Morrison in Bristol (where he lives) as he screened his terrific new film, Rocket Science! (It’s an entirely self-made and self-financed fifteen minute animation short: a black and white spoof of 1950s noir and B movies. Lots of fun and fantastic work, as usual.)
A bit tired and bleary, I collected my ‘Professional Delegate’ pass and went for much needed breakfast at the catering marquee (where they were cheekily charging us to eat there! Lunch prices were particularly outrageous). Immediately, I bumped into Paul Campbell, Nick Ostler, Mark Huckerby and Justin Trefgarne (now freelance writer/director), along with fellow script reader Paul Williams, and it was nice to ease into the morning in good company.
First session of the day was with Julian Fellowes in conversation with Colin Brown (editor of Screen International) on why writers need to become more commercially minded. Julian was great value as he regaled us with his wit and experience, and it was the perfect way to start the day. During the break, a blogspotter came up and said hello (hello Adrian!), so that was nice.
Next up was ‘Telling the Truth is Tough’ with TV legend Jimmy McGovern. He spoke with Times critic Paul Hogart about his life, work and the responsibility and hurdles of telling the truth. An excellent talk. Mr McGovern’s so passionate about his subjects and himself, and far more personable and humble than the often abrasive way he can be referred to in the media.
Co-writers Laurence Marks & Maurice Gran had an informal chat and exchange of information with Nick Oslter & Mark Huckerby in the more intimate Manor room (away from Stage A where most of the sessions were taking place) where they discussed the trials and delights of writing as a team. One of the more pertinent questions was: "What happens if one of you die?" which despite the initial giggles brought out an interesting reply from Marks & Gran: "We're insured. If I die, Maurice gets a hefty sum and if he dies, I get a hefty sum. It's a business."
Lunch followed. Nice but expensive. Seven pounds fifty for a square meal.
A session on Long Term Characters then with Ashley Pharoah, Marks & Gran, Barbara Machin (Waking the Dead) and Jimmy McGovern, and the discussion was chaired by Mervyn Watson, exec producer of Casualty.
Then a scheduling clash. What to see? Producer Kevin Loader on his illustrated view of working with writers or Bill Nicholson, writer of Gladiator etc, on his approach to surviving as a Hollywood writer? I was inclined to see Mr Loader as I’m a fan of his work but Nick & Mark convinced me that Mr Nicholson was a terrific speaker so I went along to that session instead. And boy am I glad I did. The highlight of the day, no question.
Bill Nicholson spoke with honesty, modesty and a full and frank appreciation of what it takes to survive as a working writer in Hollywood. It was illuminating and inspiring: a more realistic appraisal of all the usual tales that you hear about the development process. Even execs are much maligned. Well, maybe not much. Either way, Mr Nicholson demonstrated that even as a sought after, Oscar-nominated writer, you still have to jump through the hoops and suck all the eggs that they throw at you. It’s a privilege to be in his position, he told us, so if you do the hard work and commit yourself with professionalism, even to the most jarring of notes/advice, then you’ll be able to sustain a career. If that thought isn’t appealing, then screenwriters need to make that switch to being novelists.
A three-hour car drive home was looming and my energy was flagging. I managed to chill out for a half an hour before my return trip so I missed a few other sessions that I would have ordinarily been in the front row. But I had a great time. It seems that in this day and age, information and knowledge about screenwriting is well-understood and appreciated on a par between aspiring and professional writers alike. All of the talk and insight was pretty much the facts and wisdom that people share every day on blogs and chat rooms (perhaps this is why the New Writers’ Day on the Tuesday didn’t live up to some people’s expectations) but it’s still invigorating and inspiring to get a first-hand account of the delights and pitfalls of success.
Let’s hope a similar desperation of screenwriters gather next year for what is clearly a successful venture on the festival market. Congratulations to David Pearson and his team for organising such an event but next time, try to keep the costs down to a more reasonable level. If it was set in London for example, most people wouldn't have the need for accommodation which is a significant extra to any festival expense. Regardless, it was a good day and I’m sure the rest of the festival will be just as enjoyable. Let’s hope Paul gives us a rundown on his blog when he gets back.
Kamis, 29 Juni 2006
Senin, 26 Juni 2006
Raising the Stakes
When someone reads your script and they say “the stakes need to be raised in act two”, quite often there’s a sudden and overwhelming desire to grab the nearest blunt instrument and beat them savagely to death. It’s such frustrating advice to be given most of the time because it feels like the reader is disregarding the current content as not being dramatic enough, or is giving you a lecture on the basics of screenwriting when you’re already fully aware about stakes, and how they should be raised.
However, it seems worth mentioning as a vast majority of times, the stakes aren’t raised enough, and the read can become flat and devoid of interest. But here’s a radical suggestion: let’s stop using ‘raising the stakes’ as a phrase for all scripts and genres. ‘Raising the stakes’ really matters when it’s an action/adventure/thriller where the object of the hero’s desire is so palpable and identifiable, you want to twist and turn the audience’s expectation all the way to eleven.
‘Raising the stakes’ naturally does apply to all stories and scripts but the phrase implies some sort of surge of energy and momentum that can leave some writers confused as to the very nature of its advice. Let’s strip it back to the basics:
First of all, what’s at stake for the story?
This is identifying what the protagonist stands to lose if he doesn’t take part in the story. Don’t want to go to Mordor, Frodo? Then watch all of Hobbiton burn! Y’say you don’t like your new partner Riggs? Then prepare to be either kicked out of the force or commit suicide you loser! You just want to drive the spaceship home Ripley? Then watch your colleagues die and prepare to be slaughtered yourself!
Now, how do we raise the stakes? In other words, how do we make things worse for our hero?
Frodo. Well, the list is endless for the poor bastard. The Black Riders, The Eye of Sauron, Christopher Lee, Trolls, not to mention The Ring taking over his will and personality. Not an easy ride for the small fella is it? But he succeeds and by fighting the stakes and overcoming the obstacles, his character goes on a thoroughly dramatic and emotional journey.
Martin Riggs. Riggs doesn’t care about his life or his new partner but their investigation into a drug-smuggling operation makes them enemies to a group of former Vietnam War era mercenaries who want Riggs and Murtaugh dead, no matter what the cost. Riggs discovers a new sense of self, friendship and family with his near-to-retirement partner, and shucks, life isn’t so bad after all.
Ripley. Keep John Hurt off the ship. Nope. Well keep him in quarantine then. Sorry. Let’s sort this out and go home. Not yet sister. Watch John Hurt’s stomach explode and spend the rest of the film in a dangerous game of alien and mouse while all your colleagues die, die, die.
As you can see, the above examples are for action/adventure/thriller type films where it’s easier to implement stakes and how to raise them. But for dramas, comedies and other genres, it’s not as simple or clear-cut. It can be more subtle shifts in the characters’ behaviour and simply putting things in their way that they’d rather not deal with.
In Sideways, what’s at stake for Miles? He’s waiting to hear whether his book is about to be published and if it doesn’t, it’ll be the sad reminder of how he’s failed in life, not to mention his all-too-fresh divorce.
** MINOR SPOILERS **
The stakes are raised by Jack, Miles’s irresponsible friend, who leads them on a more carefree wine tour than Miles would have liked, leading Miles to a near nervous breakdown and an improbable romance when he has to face up to the failures in his life. His book doesn’t get published. He wallows in self-pity. He doesn’t act on Virginia Madsen’s obvious interest but Jack makes everything worse for Miles at every stage, right down to making him retrieve Jack’s wallet from the bedroom of one of his recent one-night stands where she’s currently shagging her husband!
** THERE BE NO MORE SPOILERS **
Some scripts, especially in the spec pile, are not as focused or as strategic as they could or should be in relation to what’s at stake. Sure, they could argue that the stakes are suitably raised, the character goes through escalating conflict, the situation gets worse for them, whatever, but in terms of its depiction and dramatisation, it could be lacking in a valid sense of style and structure. It could suffer from the sense of having the stakes crowbarred into the story because the writer’s aware that something needs to be done, and thinks they’ve done their duty, but the reader remains detached because it doesn’t feel organic and/or suitably entertaining to the narrative-flow.
I think Sideways is a good example because it’s a character-driven comedy drama that not everyone gets or appreciates but the storytelling is finely crafted so that things get worse for our hero without it being blatantly clear or obvious that the stakes are being raised. It’s just good storytelling. Emotionally engaging and funny but with a constant awareness of plot movement, twists and turns to maintain a natural sense of audience attachment. Now that’s hard to achieve but that’s when the craft of raising the stakes works the best: when it feels natural and inherent to the story rather than ‘putting your hero up a tree and throwing rocks at them’ (as some screenwriting advice goes).
However, it seems worth mentioning as a vast majority of times, the stakes aren’t raised enough, and the read can become flat and devoid of interest. But here’s a radical suggestion: let’s stop using ‘raising the stakes’ as a phrase for all scripts and genres. ‘Raising the stakes’ really matters when it’s an action/adventure/thriller where the object of the hero’s desire is so palpable and identifiable, you want to twist and turn the audience’s expectation all the way to eleven.
‘Raising the stakes’ naturally does apply to all stories and scripts but the phrase implies some sort of surge of energy and momentum that can leave some writers confused as to the very nature of its advice. Let’s strip it back to the basics:
First of all, what’s at stake for the story?
This is identifying what the protagonist stands to lose if he doesn’t take part in the story. Don’t want to go to Mordor, Frodo? Then watch all of Hobbiton burn! Y’say you don’t like your new partner Riggs? Then prepare to be either kicked out of the force or commit suicide you loser! You just want to drive the spaceship home Ripley? Then watch your colleagues die and prepare to be slaughtered yourself!
Now, how do we raise the stakes? In other words, how do we make things worse for our hero?
Frodo. Well, the list is endless for the poor bastard. The Black Riders, The Eye of Sauron, Christopher Lee, Trolls, not to mention The Ring taking over his will and personality. Not an easy ride for the small fella is it? But he succeeds and by fighting the stakes and overcoming the obstacles, his character goes on a thoroughly dramatic and emotional journey.
Martin Riggs. Riggs doesn’t care about his life or his new partner but their investigation into a drug-smuggling operation makes them enemies to a group of former Vietnam War era mercenaries who want Riggs and Murtaugh dead, no matter what the cost. Riggs discovers a new sense of self, friendship and family with his near-to-retirement partner, and shucks, life isn’t so bad after all.
Ripley. Keep John Hurt off the ship. Nope. Well keep him in quarantine then. Sorry. Let’s sort this out and go home. Not yet sister. Watch John Hurt’s stomach explode and spend the rest of the film in a dangerous game of alien and mouse while all your colleagues die, die, die.
As you can see, the above examples are for action/adventure/thriller type films where it’s easier to implement stakes and how to raise them. But for dramas, comedies and other genres, it’s not as simple or clear-cut. It can be more subtle shifts in the characters’ behaviour and simply putting things in their way that they’d rather not deal with.
In Sideways, what’s at stake for Miles? He’s waiting to hear whether his book is about to be published and if it doesn’t, it’ll be the sad reminder of how he’s failed in life, not to mention his all-too-fresh divorce.
** MINOR SPOILERS **
The stakes are raised by Jack, Miles’s irresponsible friend, who leads them on a more carefree wine tour than Miles would have liked, leading Miles to a near nervous breakdown and an improbable romance when he has to face up to the failures in his life. His book doesn’t get published. He wallows in self-pity. He doesn’t act on Virginia Madsen’s obvious interest but Jack makes everything worse for Miles at every stage, right down to making him retrieve Jack’s wallet from the bedroom of one of his recent one-night stands where she’s currently shagging her husband!
** THERE BE NO MORE SPOILERS **
Some scripts, especially in the spec pile, are not as focused or as strategic as they could or should be in relation to what’s at stake. Sure, they could argue that the stakes are suitably raised, the character goes through escalating conflict, the situation gets worse for them, whatever, but in terms of its depiction and dramatisation, it could be lacking in a valid sense of style and structure. It could suffer from the sense of having the stakes crowbarred into the story because the writer’s aware that something needs to be done, and thinks they’ve done their duty, but the reader remains detached because it doesn’t feel organic and/or suitably entertaining to the narrative-flow.
I think Sideways is a good example because it’s a character-driven comedy drama that not everyone gets or appreciates but the storytelling is finely crafted so that things get worse for our hero without it being blatantly clear or obvious that the stakes are being raised. It’s just good storytelling. Emotionally engaging and funny but with a constant awareness of plot movement, twists and turns to maintain a natural sense of audience attachment. Now that’s hard to achieve but that’s when the craft of raising the stakes works the best: when it feels natural and inherent to the story rather than ‘putting your hero up a tree and throwing rocks at them’ (as some screenwriting advice goes).
Sabtu, 24 Juni 2006
Random Round-Up
Quite often when actors are being interviewed you’ll hear them refer to the script in some way: “er…ah…it was just the script really. I knew I had to do it because the script just rocked”. They never mention the writer’s name or why the script was so good but they usually go on to heap praise on the director and the film’s co-stars.
But what niggles me about this is that it gives the impression that actors are the only people in the world who can recognise a good script from a stinker. Of course, when they say: “the script is great” what they really mean is “my character was cool, and my dialogue was even cooler”.
When The Hours was winning awards left, right and centre, the actors graciously mentioned writer David Hare for writing a terrific script. But Nicole, and the others, consistently referred to one element: “thank you for giving us such terrific words to speak” (I’m paraphrasing Nicole Kidman here). Nothing about the script’s particular structure, ambition, or tone, whatever; just a thanks for making “us” look good.
Just a random thought as I prepare to toddle off down to the beach.
Here are a few other bits and pieces that may be of interest or that you may have missed.
CiTV under threat:
Say bye-bye
Blogs unpopular?:
Blog schmlog
Superman Kicks Ass:
Critics' thumbs up
BBC Drama shake-up: (free reg req)
BBC news story
Channel 4 to do video-downloads: (free reg req)
C4 news story
BBC writersroom opportunity:
World Cup Tapes
Open Page
The Spectacle
---
Halo Films are currently looking for a development researcher to help them lead the many projects they have in development through to commission. Halo is a relatively new independent production company operating from just outside Bristol.They are looking for a highly motivated researcher who is prepared to be part of a small team with experience in factual research, a passion for development and the ability to seek out a story. Please apply by e-mail to camila@halofilms.co.uk
---
We are a production company predominantly working within the music industry. We now have funding in place to produce a low 'ish' budget feature as a vehicle for a well known female chart artist. We are looking for a storyline akin to a modern day Grease' and the film will be a musical - we already have many of the songs already written and we have a team of expert songwriters to specifically fill in any blanks.
So if you can write a modern, 14 - 25 age group, rom-com musical (but don't worry about the music bit!) send over your details, CV, treatments, etc. Look forward to hearing from you! Email: mike.cockayne@integralrpm.com
But what niggles me about this is that it gives the impression that actors are the only people in the world who can recognise a good script from a stinker. Of course, when they say: “the script is great” what they really mean is “my character was cool, and my dialogue was even cooler”.
When The Hours was winning awards left, right and centre, the actors graciously mentioned writer David Hare for writing a terrific script. But Nicole, and the others, consistently referred to one element: “thank you for giving us such terrific words to speak” (I’m paraphrasing Nicole Kidman here). Nothing about the script’s particular structure, ambition, or tone, whatever; just a thanks for making “us” look good.
Just a random thought as I prepare to toddle off down to the beach.
Here are a few other bits and pieces that may be of interest or that you may have missed.
CiTV under threat:
Say bye-bye
Blogs unpopular?:
Blog schmlog
Superman Kicks Ass:
Critics' thumbs up
BBC Drama shake-up: (free reg req)
BBC news story
Channel 4 to do video-downloads: (free reg req)
C4 news story
BBC writersroom opportunity:
World Cup Tapes
Open Page
The Spectacle
---
Halo Films are currently looking for a development researcher to help them lead the many projects they have in development through to commission. Halo is a relatively new independent production company operating from just outside Bristol.They are looking for a highly motivated researcher who is prepared to be part of a small team with experience in factual research, a passion for development and the ability to seek out a story. Please apply by e-mail to camila@halofilms.co.uk
---
We are a production company predominantly working within the music industry. We now have funding in place to produce a low 'ish' budget feature as a vehicle for a well known female chart artist. We are looking for a storyline akin to a modern day Grease' and the film will be a musical - we already have many of the songs already written and we have a team of expert songwriters to specifically fill in any blanks.
So if you can write a modern, 14 - 25 age group, rom-com musical (but don't worry about the music bit!) send over your details, CV, treatments, etc. Look forward to hearing from you! Email: mike.cockayne@integralrpm.com
Rabu, 21 Juni 2006
Dramatic Need
There are some scripts that you open up and by page two, you’re really struggling to get into the flow of the piece. And by page fifteen, you’re bored. By page thirty, your attention has wandered to something else entirely unrelated to the story.
There are a host of reasons why a reader doesn’t engage with a story. It could be that the genre doesn’t interest them, or they’re in a bad mood, or they’ve just read something similar, or maybe the writing just stinks, but more often not it’s usually down to one glaring element: dramatic need.
Establishing dramatic need as early as possible is a huge benefit to a script’s opening tone and pace. It gives the story an instantly accessible hook, and the reader’s interest is easily secured on the page. Of course, there are other ways to ensure that a script begins, and continues, in an inviting fashion (good writing style, interesting visuals, intriguing mood etc) but by introducing a character’s dramatic need, it immediately puts their characterisation and story needs at the forefront of the drama.
So what is dramatic need? Basically, it’s what a character wants. But it doesn’t necessarily have to be what the story’s about. There are a few ways to establish dramatic need at the beginning of a script.
1. Dramatic Need of a Scene
Giving a character a basic desire or goal during a scene helps to crystallise and clarify the drama and subtext on offer. There may be a whole bunch of unconnected scenes before the script gets to the ‘inciting incident’ but that doesn’t mean that the story can lapse into indulgent characterisation and moody set-pieces. Every moment on screen is precious and is conveying information/plot to the audience. If the scenes don’t deliver on their basic promise of drama or satisfy the audience’s primary objective to be engaged, then it’s unlikely the scenes justify their inclusion. Adding a dramatic need to the even most innocuous of scenes helps to enrich characterisation, provide humour and/or add a human depth to the proceedings.
2. Dramatic Need of a Sequence
Probably the best opening to a film, ever, is Raiders of the Lost Ark where Indy is trying to locate, and then keep, a cherished idol. It establishes dramatic need - Indy wants the idol - and then gives him a whole set of dangerous obstacles to overcome. These are mini-needs, if you will, where he must use his instincts and knowledge to triumph every challenge (the pit, the light, the stepping stones, the idol, the boulder, the tribe, the villain). The sequence does so, so, so, much more than just give us great adventure. It tells us everything we need to know about our hero in purely visual terms.
Raiders is a great example of how to establish dramatic need for an adventure story but what about if it’s for a thriller, drama or comedy? What do they do? Picking a few titles at random, and if my memory serves correctly: Wedding Crashers establishes Owen Wilson’s dissatisfaction with the wedding circuit. The Godfather establishes Marlon Brando’s sense of family and his willingness to protect them, and his business, at all costs. Memento introduces us to Guy Pearce’s obsessive search for his wife’s killer.
3. Dramatic Need of a Story
Establishing the protagonist’s main dramatic need is sometimes a good way to go. It introduces what the film is about up front (and may be dramatised in a flash-forward or something similar) before going on to detail who the character is, what the other characters are doing and where the film is set. Instant engagement, the story is moving, and the audience is interested. Banzai. Memento (again if my memory serves, I haven’t seen it in a while) is a good example of this as it introduces us to Guy Pearce and what he wants but also adds the intrigue of seemingly telling the story backwards because of his short-term memory loss.
Dramatic need. It’ll keep you up at night. Ultimately it’s about keeping the story moving, interesting and engaging. Establishing the right flow and pace to the proceedings, and using your storytelling ability to ensure that there’s constant drama on the page to keep the audience on their toes.
There are a host of reasons why a reader doesn’t engage with a story. It could be that the genre doesn’t interest them, or they’re in a bad mood, or they’ve just read something similar, or maybe the writing just stinks, but more often not it’s usually down to one glaring element: dramatic need.
Establishing dramatic need as early as possible is a huge benefit to a script’s opening tone and pace. It gives the story an instantly accessible hook, and the reader’s interest is easily secured on the page. Of course, there are other ways to ensure that a script begins, and continues, in an inviting fashion (good writing style, interesting visuals, intriguing mood etc) but by introducing a character’s dramatic need, it immediately puts their characterisation and story needs at the forefront of the drama.
So what is dramatic need? Basically, it’s what a character wants. But it doesn’t necessarily have to be what the story’s about. There are a few ways to establish dramatic need at the beginning of a script.
1. Dramatic Need of a Scene
Giving a character a basic desire or goal during a scene helps to crystallise and clarify the drama and subtext on offer. There may be a whole bunch of unconnected scenes before the script gets to the ‘inciting incident’ but that doesn’t mean that the story can lapse into indulgent characterisation and moody set-pieces. Every moment on screen is precious and is conveying information/plot to the audience. If the scenes don’t deliver on their basic promise of drama or satisfy the audience’s primary objective to be engaged, then it’s unlikely the scenes justify their inclusion. Adding a dramatic need to the even most innocuous of scenes helps to enrich characterisation, provide humour and/or add a human depth to the proceedings.
2. Dramatic Need of a Sequence
Probably the best opening to a film, ever, is Raiders of the Lost Ark where Indy is trying to locate, and then keep, a cherished idol. It establishes dramatic need - Indy wants the idol - and then gives him a whole set of dangerous obstacles to overcome. These are mini-needs, if you will, where he must use his instincts and knowledge to triumph every challenge (the pit, the light, the stepping stones, the idol, the boulder, the tribe, the villain). The sequence does so, so, so, much more than just give us great adventure. It tells us everything we need to know about our hero in purely visual terms.
Raiders is a great example of how to establish dramatic need for an adventure story but what about if it’s for a thriller, drama or comedy? What do they do? Picking a few titles at random, and if my memory serves correctly: Wedding Crashers establishes Owen Wilson’s dissatisfaction with the wedding circuit. The Godfather establishes Marlon Brando’s sense of family and his willingness to protect them, and his business, at all costs. Memento introduces us to Guy Pearce’s obsessive search for his wife’s killer.
3. Dramatic Need of a Story
Establishing the protagonist’s main dramatic need is sometimes a good way to go. It introduces what the film is about up front (and may be dramatised in a flash-forward or something similar) before going on to detail who the character is, what the other characters are doing and where the film is set. Instant engagement, the story is moving, and the audience is interested. Banzai. Memento (again if my memory serves, I haven’t seen it in a while) is a good example of this as it introduces us to Guy Pearce and what he wants but also adds the intrigue of seemingly telling the story backwards because of his short-term memory loss.
Dramatic need. It’ll keep you up at night. Ultimately it’s about keeping the story moving, interesting and engaging. Establishing the right flow and pace to the proceedings, and using your storytelling ability to ensure that there’s constant drama on the page to keep the audience on their toes.
Senin, 19 Juni 2006
Writing for Animation
How about something on the process of writing for animation as opposed to live action? Have you always worked with an animator when writing the script, therefore having a strong idea of how it would look as you go along? Anything about writing animated scripts that is particularly challenging, or easier/more enjoyable than live action? - Optimistic Reader
All the stuff I've read says that when writing animation you should be inclusive - that if it isn't on the page it won't get included. Just for the heck of it, I tried writing a Power Puff Girls spec script (I know I can't do much with it, but I used it to try for the Nickelodeon internship thing, though it now turns out that they won't look at anyone from outside the USA.) Anyway, the thing is that it came out long. I mean, very long. As in enormously long. So either I've taken things to excess or I've misunderstood. I'd be grateful for any suggestions you might have as to how to do it right! - Liz Holliday
In 1999, I gave up my full-time job at Channel 4 to pursue my dream of being a scriptwriter. I took on some freelance work to help me pay the bills while I focused on writing my scripts. Part of this freelance work (script reading etc) was assessing the proposals that were sent to Channel 4’s Animation department. From this, I got more involved in animation but from the proposal/script stage - the actual animation process still eludes me!
However, as my experience grew, I quickly became aware that while animators were great with coming up with interesting visual ideas, their storytelling skills were somewhat under par or not quite up to scratch. I saw it as an ignored field for screenwriting so I decided to see if I could get involved in writing animation scripts as a way to help develop my career and assist animators to express their vision in a more satisfying and dramatic fashion.
I’ve worked closely with some animators on the Mesh, A.I.R (Animator-in-Residence) and animate! schemes to help develop their scripts so that their stories engage the audience just as much as the accompanying images.
Quite often, the animator would have a strong vision of what the story should be and how he/she wanted to visualise it on screen. To this end, they would have done some work on the storyboard and animatic but would be open to suggestion and possible changes to the story. I’m all for beautiful and striking imagery but ultimately what I’m interested in, as a writer, is whether something is a good story and to ensure that the images correlate or compliment the ongoing narrative rather than distance itself from it.
It’s a fine balance however. Some animation films, especially for the C4 animation schemes, can achieve a great sense of mood and imagery, and the quality of the animator’s vision will make up for any story shortcomings it may have had.
When I worked on Sam Morrison's pilot for Channel 4 - Donkey Town (it won Best International Short at the Melbourne Film Festival) - it was very much about story rather than any fancy or distinctive imagery. This is why Sam’s work appeals to me so much. He’s got all the necessary craft and skill of an animator but with the wit and warmth to tell an engaging story.
I don’t consider myself an animation writer specifically. I like to think that I’m an all-round screenwriter who has an interest and talent in writing for animation. However, I am surprised that more screenwriters are not drawn to animation and its potential for exciting visual stories, whether it’s discerning cutting edge animation or the unashamed fun of a kids’ cartoon/feature film.
What’s particularly exciting about animation is that you can literally let your imagination run riot. You’re never restricted in terms of budget or location, and the laws of reality as we know it most certainly don’t apply. This is incredibly appealing as a writer, especially a screenwriter, because of the rich imagery and wild fantasies that can be conjured up on a page of animation.
This visual utopia doesn’t mean that a good animation story has to be unrestrained or wild in its depiction but the unrestricted possibilities between your imagination and what you want to express emotionally as a story is an exciting creative challenge that is hard to resist.
You can go anywhere. Do anything. Play with monsters, myths, aliens and even creatures of your own making! Outer space, inner space, body, mind and beyond. They can all be visually explored through the art of animation. No other visual medium affords you this opportunity.
In terms of how you write the actual scripts, in my experience it’s been the same method as live-action scripts. Less is more. But be very specific about what it is you’re trying to visualise. Everything you write is taken more literally in an animation script so there should be no ambiguity for the animator when he reads: “John flies in to the room”. Does this mean John literally flies into the room or does John enter the room quickly?
Children’s animation is a real treat, and a real challenge, to write. Invariably, it’s all about characters and story, characters and story, characters and story. Stick to specific action, direction and dialogue, and you won’t go far wrong. I wrote a three minute script a few years ago that Chris Shepherd was going to direct and Channel 4 were going to produce but the animation department disbanded and our opportunity was lost. Still, if you’d like to read the script, I’ve put it up on my website. It’s called Busted, you’ll find it on the menu.
All the stuff I've read says that when writing animation you should be inclusive - that if it isn't on the page it won't get included. Just for the heck of it, I tried writing a Power Puff Girls spec script (I know I can't do much with it, but I used it to try for the Nickelodeon internship thing, though it now turns out that they won't look at anyone from outside the USA.) Anyway, the thing is that it came out long. I mean, very long. As in enormously long. So either I've taken things to excess or I've misunderstood. I'd be grateful for any suggestions you might have as to how to do it right! - Liz Holliday
In 1999, I gave up my full-time job at Channel 4 to pursue my dream of being a scriptwriter. I took on some freelance work to help me pay the bills while I focused on writing my scripts. Part of this freelance work (script reading etc) was assessing the proposals that were sent to Channel 4’s Animation department. From this, I got more involved in animation but from the proposal/script stage - the actual animation process still eludes me!
However, as my experience grew, I quickly became aware that while animators were great with coming up with interesting visual ideas, their storytelling skills were somewhat under par or not quite up to scratch. I saw it as an ignored field for screenwriting so I decided to see if I could get involved in writing animation scripts as a way to help develop my career and assist animators to express their vision in a more satisfying and dramatic fashion.
I’ve worked closely with some animators on the Mesh, A.I.R (Animator-in-Residence) and animate! schemes to help develop their scripts so that their stories engage the audience just as much as the accompanying images.
Quite often, the animator would have a strong vision of what the story should be and how he/she wanted to visualise it on screen. To this end, they would have done some work on the storyboard and animatic but would be open to suggestion and possible changes to the story. I’m all for beautiful and striking imagery but ultimately what I’m interested in, as a writer, is whether something is a good story and to ensure that the images correlate or compliment the ongoing narrative rather than distance itself from it.
It’s a fine balance however. Some animation films, especially for the C4 animation schemes, can achieve a great sense of mood and imagery, and the quality of the animator’s vision will make up for any story shortcomings it may have had.
When I worked on Sam Morrison's pilot for Channel 4 - Donkey Town (it won Best International Short at the Melbourne Film Festival) - it was very much about story rather than any fancy or distinctive imagery. This is why Sam’s work appeals to me so much. He’s got all the necessary craft and skill of an animator but with the wit and warmth to tell an engaging story.
I don’t consider myself an animation writer specifically. I like to think that I’m an all-round screenwriter who has an interest and talent in writing for animation. However, I am surprised that more screenwriters are not drawn to animation and its potential for exciting visual stories, whether it’s discerning cutting edge animation or the unashamed fun of a kids’ cartoon/feature film.
What’s particularly exciting about animation is that you can literally let your imagination run riot. You’re never restricted in terms of budget or location, and the laws of reality as we know it most certainly don’t apply. This is incredibly appealing as a writer, especially a screenwriter, because of the rich imagery and wild fantasies that can be conjured up on a page of animation.
This visual utopia doesn’t mean that a good animation story has to be unrestrained or wild in its depiction but the unrestricted possibilities between your imagination and what you want to express emotionally as a story is an exciting creative challenge that is hard to resist.
You can go anywhere. Do anything. Play with monsters, myths, aliens and even creatures of your own making! Outer space, inner space, body, mind and beyond. They can all be visually explored through the art of animation. No other visual medium affords you this opportunity.
In terms of how you write the actual scripts, in my experience it’s been the same method as live-action scripts. Less is more. But be very specific about what it is you’re trying to visualise. Everything you write is taken more literally in an animation script so there should be no ambiguity for the animator when he reads: “John flies in to the room”. Does this mean John literally flies into the room or does John enter the room quickly?
Children’s animation is a real treat, and a real challenge, to write. Invariably, it’s all about characters and story, characters and story, characters and story. Stick to specific action, direction and dialogue, and you won’t go far wrong. I wrote a three minute script a few years ago that Chris Shepherd was going to direct and Channel 4 were going to produce but the animation department disbanded and our opportunity was lost. Still, if you’d like to read the script, I’ve put it up on my website. It’s called Busted, you’ll find it on the menu.
Sabtu, 17 Juni 2006
Final Weekend Noticeboard
Thanks to all of you for voting in my blog poll. Exciting results! Well, not really but interesting nonetheless. Maybe I should have put in the Screenwriter’s Diet series as a choice because that’s the one that generates the most email/reaction! No, not really. I came up with the Weekend Noticeboard because traffic is dribble at the weekend, and so I thought a post about some general goings-on within the industry might have been of interest.
However, as the information is magpied from various newsletters/forums and Shooting People, it’s probably not worth putting it up as the majority of you will be aware, or should be aware, of the details already. That said, if anyone has some snippet of news (my thanks to reporter in the field Mark Huckerby) or a seminar that they think might be of interest, or whatever, then let me know so I can spread the word. And so, I present the last Weekend Noticeboard for your casual perusal. Enjoy the sun. See you next week.
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Screenwriters’ Festival
The Screenwriters’ Festival has announced its full schedule, plus more accessible ONE DAY & TWO DAY passes rather than paying the hefty fee for full attendance.
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Pulse
Film London's PULSE digital shorts scheme is open once again - on the lookout for the next generation of film-making talent in the capital. Josic Cadoret, the scheme coordinator, will present 3 roadshows from 13 June. The roadshows are an opportunity to ask questions about the scheme and see some of last year's digital shorts.
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BBC Three’s Fresh
BBC Three is looking for the next generation of documentary film-makers for this year's New Talent strand, Fresh. Three first time directors will each receive a major commission for a one off 60 minute documentary to be screened on BBC Three in March 2007.
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Film Business Academy
Are you looking to break into the film industry? A qualification from the Film Business Academy may help with your future employability in this competitive arena. The Film Business Academy is the world's first international centre dedicated to the business of film. It is part of Cass Business School, a leading European Business School with an Executive MBA ranked in the world top ten by the Financial Times. If you want to get into the film industry, the MSc in Film Business will give you a foundation in management and business skills, plus specialised education in all aspects of the film industry value chain.
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VACANCIES
Film London currently have two vacancies at Film London. Please check the website for further information about these two positions - Coordinator: Skills & International and Production Accountant for Microwave.
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I-BLINK
the i-blink scriptwriting competition has just extended it's (sic) deadline to the 19th July. This exciting new competition is offering writers the chance to make their films, receive software, feedback and big cash prizes!
Please log on to i-blink for more information.
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LONDON FILM SCHOOL - Call for applicants
Deadline Extension Monday 19th June 2006
The Craft Extension Programme - launches September 2006
The London Film School with Skillset Screen Academy funding, is offering a completely new kind of programme: the Craft Extension Programme. We will enrol a small number of filmmakers in four craft areas: Cinematography, Editing, Production Design and Sound, to undertake a year long programme of individually agreed practical learning.
Entry is in September 2006 and January 2007 and as only 3 - 5 students will be enrolled in each of the craft areas, applicants are encouraged to apply early. The deadline for September 2006 entry has been extended to 19th June 2006.
Further info and application forms at the website.
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SCRIPT OPPORTUNITY
Does anyone out there have a low budget, really nasty horror script out there. Think SAW crossed with HARD CANDY and a good dollop of WOLF CREEK and the original HILLS HAVE EYES thrown in for good measure. It must star late teens, early twenties characters. Really nasty, really violent, but with good characters. If it is set in a college in the countryside this would be even better.
Who can help? Contact horror@neathfilms.com
***
However, as the information is magpied from various newsletters/forums and Shooting People, it’s probably not worth putting it up as the majority of you will be aware, or should be aware, of the details already. That said, if anyone has some snippet of news (my thanks to reporter in the field Mark Huckerby) or a seminar that they think might be of interest, or whatever, then let me know so I can spread the word. And so, I present the last Weekend Noticeboard for your casual perusal. Enjoy the sun. See you next week.
---
Screenwriters’ Festival
The Screenwriters’ Festival has announced its full schedule, plus more accessible ONE DAY & TWO DAY passes rather than paying the hefty fee for full attendance.
---
Pulse
Film London's PULSE digital shorts scheme is open once again - on the lookout for the next generation of film-making talent in the capital. Josic Cadoret, the scheme coordinator, will present 3 roadshows from 13 June. The roadshows are an opportunity to ask questions about the scheme and see some of last year's digital shorts.
---
BBC Three’s Fresh
BBC Three is looking for the next generation of documentary film-makers for this year's New Talent strand, Fresh. Three first time directors will each receive a major commission for a one off 60 minute documentary to be screened on BBC Three in March 2007.
---
Film Business Academy
Are you looking to break into the film industry? A qualification from the Film Business Academy may help with your future employability in this competitive arena. The Film Business Academy is the world's first international centre dedicated to the business of film. It is part of Cass Business School, a leading European Business School with an Executive MBA ranked in the world top ten by the Financial Times. If you want to get into the film industry, the MSc in Film Business will give you a foundation in management and business skills, plus specialised education in all aspects of the film industry value chain.
---
VACANCIES
Film London currently have two vacancies at Film London. Please check the website for further information about these two positions - Coordinator: Skills & International and Production Accountant for Microwave.
---
I-BLINK
the i-blink scriptwriting competition has just extended it's (sic) deadline to the 19th July. This exciting new competition is offering writers the chance to make their films, receive software, feedback and big cash prizes!
Please log on to i-blink for more information.
---
LONDON FILM SCHOOL - Call for applicants
Deadline Extension Monday 19th June 2006
The Craft Extension Programme - launches September 2006
The London Film School with Skillset Screen Academy funding, is offering a completely new kind of programme: the Craft Extension Programme. We will enrol a small number of filmmakers in four craft areas: Cinematography, Editing, Production Design and Sound, to undertake a year long programme of individually agreed practical learning.
Entry is in September 2006 and January 2007 and as only 3 - 5 students will be enrolled in each of the craft areas, applicants are encouraged to apply early. The deadline for September 2006 entry has been extended to 19th June 2006.
Further info and application forms at the website.
---
SCRIPT OPPORTUNITY
Does anyone out there have a low budget, really nasty horror script out there. Think SAW crossed with HARD CANDY and a good dollop of WOLF CREEK and the original HILLS HAVE EYES thrown in for good measure. It must star late teens, early twenties characters. Really nasty, really violent, but with good characters. If it is set in a college in the countryside this would be even better.
Who can help? Contact horror@neathfilms.com
***
Kamis, 15 Juni 2006
Blog Poll!
My knowledge of the interweb and techie things has sadly not increased much since I started this blog. Ideally, I’d have all my links and articles rounded up into neat sections so that it would look like a fairly professional website.
I don’t think it’s a blot on the eye or anything but I’d like to group the more popular posts into categories and links instead of listing everything in one big chunk down the side. Maybe I’ll sort it out, one day, when I can pay someone to look after the blog while I take my calls by the pool…
Anyway, I thought it might be a good time to check what most people actually like about the blog so that I can focus and improve the content as it continues to grow and develop.
Below is a little blog poll, my first how exciting, that might be of a fun to click as well as being an interesting glimpse as to what makes this blog tick.
Also, if you have a query on a previous post or on a topic that hasn’t been covered yet, then don’t be shy to either email or leave a comment. Cheers!
I don’t think it’s a blot on the eye or anything but I’d like to group the more popular posts into categories and links instead of listing everything in one big chunk down the side. Maybe I’ll sort it out, one day, when I can pay someone to look after the blog while I take my calls by the pool…
Anyway, I thought it might be a good time to check what most people actually like about the blog so that I can focus and improve the content as it continues to grow and develop.
Below is a little blog poll, my first how exciting, that might be of a fun to click as well as being an interesting glimpse as to what makes this blog tick.
Also, if you have a query on a previous post or on a topic that hasn’t been covered yet, then don’t be shy to either email or leave a comment. Cheers!
Rabu, 14 Juni 2006
Screenwriting Siesta
When you go freelance, full-time, one of the most important things to discover is your own comfortable routine; your own sense of when, where and how you can get your work done. Even more so as a screenwriter as you have to find that balance between the deadline scripts that you’re being paid to do (if you’re lucky!), and the more personal spec work that you hope will lift your name and career to a new level.
I’ve never been a good morning person. All of my office jobs have been a struggle to get up in time for a normal 8am breakfast. This isn’t because I’m lazy, I don’t think. It’s because when I go to bed, no matter how tired I am, it will take me at least a couple of hours to nod off, and thus extend my sense of weariness when the alarm bell sounds. Nevertheless, I’ve always tried to maintain office hours while I’ve been freelance as it helps me to focus and get work done, even when I’m not in the mood.
This week has been a bit peculiar. I’m a big football fan and the World Cup is a huge treat on my four year calendar. Ireland, my team, failed to qualify (which upsets me deeply) but it doesn’t prevent my excitement and anticipation of every World Cup game, from Togo to Tunisia. (This year, we’re trying to do Foods of the World to correspond with whatever game is on but it’s proving a bit trickier than we had imagined. Still, Holland’s chips with mayonnaise are an easy favourite).
Anyway, the games’ kick-off times are spread out from 2pm, 5pm and 8pm. That’s not so bad if you have to work, the 5pm and 8pm games obviously being easier to watch than the 2pm. I want to watch those games too but I can’t afford to let my work routine be damaged by indulgent football viewing. So I’ve been getting up earlier to get more work in before the footy starts.
6am. It’s actually not so difficult getting up at this time. Tired, sure. But a quick hit of water on the face then orange juice and tea/coffee (not on the face) usually does the trick. What is hard is the early onset of tiredness after a couple of hours’ work. A significant energy dip, especially as the computer drains away your effort and attention. Despite this, getting up earlier does have its benefits. You get more work done, and you can almost get six hours’ work in the bag by lunchtime. After a quick bite of lunch, it’s time to settle into the first football game of the day.
It’s day three of this new routine now and it’s taking its toll. But a good way of breaking the sense of weariness and tiredness is to take a little power nap. A siesta to refresh body and mind. And boy, does it work! Today, I went for a nap at 4pm, and I woke again at 6pm, just in time for the second half of Tunisia vs Saudia Arabia. Holy hell, what a couple of hours’ kip! It was like being hit with a brick, except without the bruising, or the blood…or the brick.
The experience was markedly different than the common sleep of bedtime. It felt significant, deep and wholly necessary. I don’t mean to bore you with tales of my working day and how well I slept, I’ve always tried to avoid those kind of posts, but the point is that maybe an afternoon kip is the way to go for tired and frazzled screenwriters. This only applies if you’re getting up at a normal time (7/8am) and trying to commit yourself to office hours to help keep you in a routine. Or maybe it doesn’t. Maybe everyone should have a sleep in the mid-afternoon, and just relax. After all, the Spanish know a thing or two, right…?
Sleep. Siesta. Nice…
(Staying with the Spanish theme - who beat Ukraine 4-0 during the 2pm game - it was tapas for tea!)
I’ve never been a good morning person. All of my office jobs have been a struggle to get up in time for a normal 8am breakfast. This isn’t because I’m lazy, I don’t think. It’s because when I go to bed, no matter how tired I am, it will take me at least a couple of hours to nod off, and thus extend my sense of weariness when the alarm bell sounds. Nevertheless, I’ve always tried to maintain office hours while I’ve been freelance as it helps me to focus and get work done, even when I’m not in the mood.
This week has been a bit peculiar. I’m a big football fan and the World Cup is a huge treat on my four year calendar. Ireland, my team, failed to qualify (which upsets me deeply) but it doesn’t prevent my excitement and anticipation of every World Cup game, from Togo to Tunisia. (This year, we’re trying to do Foods of the World to correspond with whatever game is on but it’s proving a bit trickier than we had imagined. Still, Holland’s chips with mayonnaise are an easy favourite).
Anyway, the games’ kick-off times are spread out from 2pm, 5pm and 8pm. That’s not so bad if you have to work, the 5pm and 8pm games obviously being easier to watch than the 2pm. I want to watch those games too but I can’t afford to let my work routine be damaged by indulgent football viewing. So I’ve been getting up earlier to get more work in before the footy starts.
6am. It’s actually not so difficult getting up at this time. Tired, sure. But a quick hit of water on the face then orange juice and tea/coffee (not on the face) usually does the trick. What is hard is the early onset of tiredness after a couple of hours’ work. A significant energy dip, especially as the computer drains away your effort and attention. Despite this, getting up earlier does have its benefits. You get more work done, and you can almost get six hours’ work in the bag by lunchtime. After a quick bite of lunch, it’s time to settle into the first football game of the day.
It’s day three of this new routine now and it’s taking its toll. But a good way of breaking the sense of weariness and tiredness is to take a little power nap. A siesta to refresh body and mind. And boy, does it work! Today, I went for a nap at 4pm, and I woke again at 6pm, just in time for the second half of Tunisia vs Saudia Arabia. Holy hell, what a couple of hours’ kip! It was like being hit with a brick, except without the bruising, or the blood…or the brick.
The experience was markedly different than the common sleep of bedtime. It felt significant, deep and wholly necessary. I don’t mean to bore you with tales of my working day and how well I slept, I’ve always tried to avoid those kind of posts, but the point is that maybe an afternoon kip is the way to go for tired and frazzled screenwriters. This only applies if you’re getting up at a normal time (7/8am) and trying to commit yourself to office hours to help keep you in a routine. Or maybe it doesn’t. Maybe everyone should have a sleep in the mid-afternoon, and just relax. After all, the Spanish know a thing or two, right…?
Sleep. Siesta. Nice…
(Staying with the Spanish theme - who beat Ukraine 4-0 during the 2pm game - it was tapas for tea!)
Selasa, 13 Juni 2006
Script Vs Film: The Jacket
First, you might be interested to check out Jimmy McGovern talking on Front Row (follow links) on BBC Radio 4 where he shares his views about script writing and the current state of British TV.
Now, The Jacket. Written by Massy Tadjedin, directed by John Maybury and starring Keira Knightley and Adrien Brody.
I was so frustrated with this script. It had great potential and initial intrigue, and then seemed to throw it all away in favour of some silly and implausible developments. I knew it was a film that was going to have a great deal of style and visual flair, so perhaps half the battle was won, but I was so annoyed by the script’s dodgy dramatisation that I pretty much avoided it once it was released.
The reviews more or less confirmed my opinion, and I still haven’t seen it. If you’ve checked it out, feel free to share your thoughts as opposed to the critique of the script, which follows below.
My logline: “A Gulf War hero suffers from post traumatic shock and when he is convicted of a murder of a policeman, he is sent to a psychiatric hospital where he undergoes severe treatment which somehow sends him forward in time so he can figure out whether or not he really did kill the policeman, and lay his personal issues to rest.”
My brief: “A searing psycho-drama along the lines of “Jacob’s Ladder” turns into a fairly risible time travel affair that is not adequately explained or paid off; this throws away its potential and intrigue with its erratic tone and naff developments.”
Comments (spoilers): “The first half of this premise is quite intriguing and dramatic - a Gulf War hero suffers from post traumatic shock and when he is convicted of a murder of a policeman, he is sent to a psychiatric hospital where he undergoes severe treatment. Unfortunately the latter part of the story – the severe treatment somehow sends him forward in time – turns the film into something else entirely and the story started to lose its tonal grip on the proceedings.
Moreover, the developments were far too naff and risible, and the impressive opening intrigue was ultimately wasted. Initially, the story gave off a strong impression that it was going to be a searing psycho-drama in the mould of “Jacob’s Ladder”, and the script’s style and structure effectively eked out interest and intrigue in the situation. The protagonist is haunted by fragmented images from his past in the Gulf War and when he is unsure about whether or not he killed a policeman, the story sits up with a generous amount of appeal and mystery.
He is sent to a psychiatric hospital where he undergoes severe treatment in an experimental device called ‘The Jacket’ but unfortunately it is here where the story takes an ill-advised change in its tone and drama.
‘The Jacket’ somehow sends the protagonist forward in time and he gets to walk around in present day 2004 while still having an emotional and physical toe in his other present day of 1992. This development did have some relevance to the plot and the story as William, the protagonist, meets up with a waitress whom he had met in 1992, and they investigate William’s apparent upcoming death.
Confusing? Well it is, and it isn’t. The narrative manages to stay on the right side of intriguing rather than confusing but regrettably the whole affair throws away its potential as it gets progressively muddled with the switches between 2004/1992. It was first thought that William’s initial experience in 2004 was just a hallucination but when the plot made it clear that ‘The Jacket’ was sending William forward in time, this was just too silly and insubstantial for the greater needs of the story.
More importantly, ‘The Jacket’s’ time travelling abilities are never adequately explained or paid off, and the latter half of the film became a risible mess, and partly lost sight of William’s goal to regain his sanity. The story focuses on William’s relationship with Jackie and his situation with the psychiatric hospital while the murder mystery involving the policeman is conveniently dealt with and the script becomes too silly.
There is a small but significant blemish in the script that tarnishes the material. One of the characters – Dr Lorenson – is introduced as a male character but then is inexplicably referred to as a female character. This was a glaring inconsistency of characterisation, presumably the character was male in the previous draft, but it only created further frustration and dissatisfaction.
The characterisation on the whole is alright, nothing spectacular. William Starks’s mental disorientation does manage to carry the film but his development wasn’t given a sufficient pay off with the film’s time travel tendencies. The importance of Dr Becker at the psychiatric hospital didn’t effectively combine with the romantic subplot between William and Jackie, and the male/female Dr Lorenson wasn’t used well enough to have an appropriate impact. Although the first part of this story has some appeal, the latter developments are less assured, and the film doesn’t leave a lasting impression.”
Now, The Jacket. Written by Massy Tadjedin, directed by John Maybury and starring Keira Knightley and Adrien Brody.
I was so frustrated with this script. It had great potential and initial intrigue, and then seemed to throw it all away in favour of some silly and implausible developments. I knew it was a film that was going to have a great deal of style and visual flair, so perhaps half the battle was won, but I was so annoyed by the script’s dodgy dramatisation that I pretty much avoided it once it was released.
The reviews more or less confirmed my opinion, and I still haven’t seen it. If you’ve checked it out, feel free to share your thoughts as opposed to the critique of the script, which follows below.
My logline: “A Gulf War hero suffers from post traumatic shock and when he is convicted of a murder of a policeman, he is sent to a psychiatric hospital where he undergoes severe treatment which somehow sends him forward in time so he can figure out whether or not he really did kill the policeman, and lay his personal issues to rest.”
My brief: “A searing psycho-drama along the lines of “Jacob’s Ladder” turns into a fairly risible time travel affair that is not adequately explained or paid off; this throws away its potential and intrigue with its erratic tone and naff developments.”
Comments (spoilers): “The first half of this premise is quite intriguing and dramatic - a Gulf War hero suffers from post traumatic shock and when he is convicted of a murder of a policeman, he is sent to a psychiatric hospital where he undergoes severe treatment. Unfortunately the latter part of the story – the severe treatment somehow sends him forward in time – turns the film into something else entirely and the story started to lose its tonal grip on the proceedings.
Moreover, the developments were far too naff and risible, and the impressive opening intrigue was ultimately wasted. Initially, the story gave off a strong impression that it was going to be a searing psycho-drama in the mould of “Jacob’s Ladder”, and the script’s style and structure effectively eked out interest and intrigue in the situation. The protagonist is haunted by fragmented images from his past in the Gulf War and when he is unsure about whether or not he killed a policeman, the story sits up with a generous amount of appeal and mystery.
He is sent to a psychiatric hospital where he undergoes severe treatment in an experimental device called ‘The Jacket’ but unfortunately it is here where the story takes an ill-advised change in its tone and drama.
‘The Jacket’ somehow sends the protagonist forward in time and he gets to walk around in present day 2004 while still having an emotional and physical toe in his other present day of 1992. This development did have some relevance to the plot and the story as William, the protagonist, meets up with a waitress whom he had met in 1992, and they investigate William’s apparent upcoming death.
Confusing? Well it is, and it isn’t. The narrative manages to stay on the right side of intriguing rather than confusing but regrettably the whole affair throws away its potential as it gets progressively muddled with the switches between 2004/1992. It was first thought that William’s initial experience in 2004 was just a hallucination but when the plot made it clear that ‘The Jacket’ was sending William forward in time, this was just too silly and insubstantial for the greater needs of the story.
More importantly, ‘The Jacket’s’ time travelling abilities are never adequately explained or paid off, and the latter half of the film became a risible mess, and partly lost sight of William’s goal to regain his sanity. The story focuses on William’s relationship with Jackie and his situation with the psychiatric hospital while the murder mystery involving the policeman is conveniently dealt with and the script becomes too silly.
There is a small but significant blemish in the script that tarnishes the material. One of the characters – Dr Lorenson – is introduced as a male character but then is inexplicably referred to as a female character. This was a glaring inconsistency of characterisation, presumably the character was male in the previous draft, but it only created further frustration and dissatisfaction.
The characterisation on the whole is alright, nothing spectacular. William Starks’s mental disorientation does manage to carry the film but his development wasn’t given a sufficient pay off with the film’s time travel tendencies. The importance of Dr Becker at the psychiatric hospital didn’t effectively combine with the romantic subplot between William and Jackie, and the male/female Dr Lorenson wasn’t used well enough to have an appropriate impact. Although the first part of this story has some appeal, the latter developments are less assured, and the film doesn’t leave a lasting impression.”
Senin, 12 Juni 2006
The Play's The Thing
“It takes true originality, tenacity and talent to make it as a successful playwright in the competitive world of commercial theatre. In The Play’s the Thing, a major four-part series, Channel 4 has launched a search for a new British playwright – a new voice to enliven and envigorate the West End stage.
The series has attracted over 2000 submissions from previously un-produced writers. Across four episodes, The Play’s the Thing follows the progress of these theatre wannabes from restaurateurs to supermarket workers, scientists to call centre operatives, from the earliest stages of selection through the honing of their words into a play fit for production by an established director and hand-picked cast.
It’s the job of three top theatre professionals – West End producer Sonia Friedman (who produces the West End production of the winning play in June), Literary Agent Mel Kenyon and Actor Neil Pearson – to whittle down submissions to a shortlist of three before the winner is selected. Then a brand-new name will emerge into the spotlight to experience all the drama of first-night nerves and public scrutiny as the curtain goes up on their West End debut.
As an extension of the television series, The Play’s the Thing is also an online repository and marketplace for radio drama, written by aspiring and emerging writers with script training and development delivered through Ideas Factory, Channel 4’s Talent initiative to support 16-34 year olds pursue a career in the creative industries.”
The first episode of The Play’s The Thing was tonight. At first it was quite disconcerting and disappointing as the tone, background music and voice-over seemed to imply that a bunch of sad loser lunatics had applied. And perhaps they had. But the judges got it down to a shortlist of reasonably normal people, and the episode started to pick up. The submission process looked rather daunting with the applicants having to film themselves performing a snippet of their play, and then pitching it to the panel by using a chalkboard. Good on them. Best of luck. Come on Steve the Supermarket Guy! That’s who I’m rooting for.
Surely it’s only a matter of time before they do Screenwriter Idol or a screenwriting version of Dragons' Den? Surely.
The series has attracted over 2000 submissions from previously un-produced writers. Across four episodes, The Play’s the Thing follows the progress of these theatre wannabes from restaurateurs to supermarket workers, scientists to call centre operatives, from the earliest stages of selection through the honing of their words into a play fit for production by an established director and hand-picked cast.
It’s the job of three top theatre professionals – West End producer Sonia Friedman (who produces the West End production of the winning play in June), Literary Agent Mel Kenyon and Actor Neil Pearson – to whittle down submissions to a shortlist of three before the winner is selected. Then a brand-new name will emerge into the spotlight to experience all the drama of first-night nerves and public scrutiny as the curtain goes up on their West End debut.
As an extension of the television series, The Play’s the Thing is also an online repository and marketplace for radio drama, written by aspiring and emerging writers with script training and development delivered through Ideas Factory, Channel 4’s Talent initiative to support 16-34 year olds pursue a career in the creative industries.”
The first episode of The Play’s The Thing was tonight. At first it was quite disconcerting and disappointing as the tone, background music and voice-over seemed to imply that a bunch of sad loser lunatics had applied. And perhaps they had. But the judges got it down to a shortlist of reasonably normal people, and the episode started to pick up. The submission process looked rather daunting with the applicants having to film themselves performing a snippet of their play, and then pitching it to the panel by using a chalkboard. Good on them. Best of luck. Come on Steve the Supermarket Guy! That’s who I’m rooting for.
Surely it’s only a matter of time before they do Screenwriter Idol or a screenwriting version of Dragons' Den? Surely.
Minggu, 11 Juni 2006
Writing a Synopsis
Ask any script reader what they dislike about script reading and they will reply, hands down every time: writing the synopsis. This part of the process slows the reader down the most in preparing and finishing his/her coverage.
Reading the script and generating an instinctive response to its flaws and merits isn’t a problem. Doing the front cover of the report is a doddle - although the logline can be tricky if the story’s a true dud. But before the reader can let fly with his comments, he needs to write a one page synopsis of the story before he can go any further. This can be demotivating and frustrating because the story may not be easily summed up in one go, or it could be just too dull to even want to revisit the content and express it in its pure form.
However, after a while, after a few hundred scripts have been digested and covered, and neatly transcribed into a one page synopsis, the reader develops a knack for summarising a story’s key essentials into the bare bones of a page. And after a few thousand scripts have been covered in this manner, writing a synopsis develops into a second nature because the brain immediately goes to the salient details of the story and puts them down on paper.
Writers sometimes complain that they can’t easily summarise their story into one page. It’s not that they don’t have the talent to do so, it’s because they’re so attached to the story and know every beat that they don’t know what to leave out. Alternatively, they don’t know (or subconsciously resist) how to suitably lasso thirty pages of script into two or three lines of synopsis. It’s tricky but in essence, it’s not difficult at all.
Here are some top tips for writing a one page synopsis:
Keep it simple.
Keep it clear.
The journalistic principle of “Who, What, Where, When and How” is particularly useful in trying to get across the key details.
“Who?” - Who’s the main character? And what does he want? What’s he doing? Is there anybody else involved?
“What?” - What’s the conflict? Who’s stopping the protagonist? What’s in his way?
“Where?” - Where’s it set?
“When?” - And in what period?
“How?” - How does the protagonist try to get what he wants, what happens and how does it end?
These are broad headings - no synopsis reads exactly like this run down - but it can be quite handy in jotting down notes before hand to crystallise exactly what’s going on and what the reader needs to know over a one page duration.
You don’t want to go into too much detail but you want to give a sense that the story goes through enough interesting twists and turns, and has a length that justifies its structure, to make the reader feel like the story really is a movie and definitely needs to be seen on the big screen.
Revealing the ending is a debatable point but the synopsis needs to come to some sort of a resolution even it’s an enigmatic: “and when Johnny finally opens the door, what stands in front of him takes his breath away”. If it’s a mystery thriller, then it’s probably best not to give away the ending but you want to entice the reader into thinking: “wow, this is a great idea, I have to know what happens, where’s the script?”
An alternate but effective way of writing a one page synopsis is jotting down a series of self-generated questions and answers:
What’s it about? It’s about a young farmhand on a distant planet who joins the battle against the universe’s evil forces but doesn’t realise that his family’s dark secret will have serious repercussions for him and his friends.
Sounds familiar, where have I heard that before? This is a space adventure like no other. This is a film that will knock your socks off. This is Space Invaders: The Movie.
Riiight. Tell me more. Well, the story kicks off with our hero who’s a whiz on his play station and when he hits an all time score of 5 kerjillion on Space Invader 3000, it sends a message to the distant planet of Gobshite who are desperate for some help in defending their home.
You get the idea. Even though the Q&A is pre-made, the reader sees it like it’s questions that he’s asking, or wants to know the answers to, and it can make for an effective pitching document.
It’s understandable for writers to struggle or resist distilling their stories into a one page form but it’s a craft and skill of its own, and is the most common document that the industry will ask for and will expect to see before they agree to see your script. Keep it simple, keep it clear. Subplots and secondary characters are fine as long as they don’t impede the flow and duration of the synopsis. Stay focused on the story, why we’re going to see the movie, and the rest will follow.
Reading the script and generating an instinctive response to its flaws and merits isn’t a problem. Doing the front cover of the report is a doddle - although the logline can be tricky if the story’s a true dud. But before the reader can let fly with his comments, he needs to write a one page synopsis of the story before he can go any further. This can be demotivating and frustrating because the story may not be easily summed up in one go, or it could be just too dull to even want to revisit the content and express it in its pure form.
However, after a while, after a few hundred scripts have been digested and covered, and neatly transcribed into a one page synopsis, the reader develops a knack for summarising a story’s key essentials into the bare bones of a page. And after a few thousand scripts have been covered in this manner, writing a synopsis develops into a second nature because the brain immediately goes to the salient details of the story and puts them down on paper.
Writers sometimes complain that they can’t easily summarise their story into one page. It’s not that they don’t have the talent to do so, it’s because they’re so attached to the story and know every beat that they don’t know what to leave out. Alternatively, they don’t know (or subconsciously resist) how to suitably lasso thirty pages of script into two or three lines of synopsis. It’s tricky but in essence, it’s not difficult at all.
Here are some top tips for writing a one page synopsis:
Keep it simple.
Keep it clear.
The journalistic principle of “Who, What, Where, When and How” is particularly useful in trying to get across the key details.
“Who?” - Who’s the main character? And what does he want? What’s he doing? Is there anybody else involved?
“What?” - What’s the conflict? Who’s stopping the protagonist? What’s in his way?
“Where?” - Where’s it set?
“When?” - And in what period?
“How?” - How does the protagonist try to get what he wants, what happens and how does it end?
These are broad headings - no synopsis reads exactly like this run down - but it can be quite handy in jotting down notes before hand to crystallise exactly what’s going on and what the reader needs to know over a one page duration.
You don’t want to go into too much detail but you want to give a sense that the story goes through enough interesting twists and turns, and has a length that justifies its structure, to make the reader feel like the story really is a movie and definitely needs to be seen on the big screen.
Revealing the ending is a debatable point but the synopsis needs to come to some sort of a resolution even it’s an enigmatic: “and when Johnny finally opens the door, what stands in front of him takes his breath away”. If it’s a mystery thriller, then it’s probably best not to give away the ending but you want to entice the reader into thinking: “wow, this is a great idea, I have to know what happens, where’s the script?”
An alternate but effective way of writing a one page synopsis is jotting down a series of self-generated questions and answers:
What’s it about? It’s about a young farmhand on a distant planet who joins the battle against the universe’s evil forces but doesn’t realise that his family’s dark secret will have serious repercussions for him and his friends.
Sounds familiar, where have I heard that before? This is a space adventure like no other. This is a film that will knock your socks off. This is Space Invaders: The Movie.
Riiight. Tell me more. Well, the story kicks off with our hero who’s a whiz on his play station and when he hits an all time score of 5 kerjillion on Space Invader 3000, it sends a message to the distant planet of Gobshite who are desperate for some help in defending their home.
You get the idea. Even though the Q&A is pre-made, the reader sees it like it’s questions that he’s asking, or wants to know the answers to, and it can make for an effective pitching document.
It’s understandable for writers to struggle or resist distilling their stories into a one page form but it’s a craft and skill of its own, and is the most common document that the industry will ask for and will expect to see before they agree to see your script. Keep it simple, keep it clear. Subplots and secondary characters are fine as long as they don’t impede the flow and duration of the synopsis. Stay focused on the story, why we’re going to see the movie, and the rest will follow.
Jumat, 09 Juni 2006
Weekend Noticeboard
Fellow bloggers are focused (distracted?) on the 14 Day Screenplay Challenge (FDSC). This is a great idea to help generate some energy, motivation and creativity to actually get a script written. Good luck to all who are giving it a go.
Back in February, I challenged myself to write a script in four days in order to help banish the rejection blues. So if you are knee deep in the FDSC but find yourself slacking and procrastinating during your fortnight deadline, then feel free to check out how I crammed in 90 pages over four days HERE. My script started well but tapered off into an erratic story. I’ve yet to rewrite it into a proper first draft but I still have hopes that it’s a story with commercial and entertaining value.
In other news, I have a new agent. My post about whether to be with a big agent or small agent generated some discussion between me and my industry friends about whether I should be with a higher profile agency and so they pointed me in the direction of PFD, who were happy to read my work and consequently offer to represent me.
My previous agency was truly supportive and understanding of the move - they’re such a classy act - and we part on extremely amicable terms, and of course they’ll continue to represent the deals they’ve bashed out for me until they expire. I was very happy with them but the opportunity to be with PFD and their top level exposure was too good to turn down, and I now seek to raise my game even higher in order to suitably reflect my new agency status.
There are lots of potentially exciting things going on (EastEnders is still on the go, I have to do a second draft of my trial episode) and everything is going well but there’s a summer lull at the moment, and it’s a stressful time for cash flow and finding paid work. But as I say, you just got to keep going. Keep writing. Find the passion, seek the source. Write.
---
BBC THREE: Funny Hunt
Deadline: 14 July 2006
BBC THREE is looking for original new comedy talent.
All you need to do is film a clip of the funniest stuff you can produce, up to three minutes in length and submit it via the BBC's Comedy Soup website.
The creators of the funniest material will be given exclusive access to some of Britain's top comedy writers, performers and producers at a series of special masterclasses held in Manchester.
For more information, including the rules in full, see the Comedy Soup website.
---
PULSE
The PULSE scheme, launched in 2002 in partnership with the UK Film Council's New Cinema Fund, offers the next generation of London's talent the chance to shine, and producing an array of award winning short films. Film London is pleased to open submissions for PULSE 2006. 8 short digital films will be commissioned with a budget range of £2,000-£10,000.
---
The Spectacle
Deadline: July 31 2006
The Spectacle, a new British comedy website, seeks seriously funny writers.
Until July The Spectacle is undergoing live development and actively seeking contributors to join the staff writers. After this period it will have an open submissions policy, but the greater opportunity exists now to help shape the future of the website.
---
JURGEN WOLFF
ScriptWriter Masterclasses present : Right Brain Scriptwriting Interactive Workshop, 17th June , 10am-5pm (9.30 registration)
Hollywood Pro, qualified hypnotherapist, and NLP specialist Jurgen Wolff, teaches how to tap into your unique creative power using visualisation, self-hypnosis, and advanced brainstorming to create vivid characters and compelling storylines. This highly practical yet creative workshop was a sell out last year- so don’t miss your chance!
Tickets: £60 (10% discount for NPA members)
Book now at RADA Box Office 020 7908 4800
Location: RADA, Malet St, London WC1E 7JN.
For more information: http://www.scriptwritermagazine.com
For queries, ring Janice Day on 07748 652 194
---
Rocliffe New Writing Forums
Rocliffe are currently accepting scripts for the winter season 2006
Rocliffe New Writing Forums commencing in September with Cameron McCracken from Pathé. For an application form email scripts@rocliffe.com or from the web: http://www.rocliffe.com/scriptappl.html
There is no charge to submit a script but you must submit a hard copy with an application form.
---
Sam & Jim Take Over the World
Also, Sam & Jim (of Sam & Jim Go To Hollywood) are thinking of starting a new blog/podcast where writers get to submit sketches, and Sam & Jim will produce them for their new show. They've issued an open-call out to everyone on t'web and beyond. It might be something of interest so check out their website for more details.
***
Back in February, I challenged myself to write a script in four days in order to help banish the rejection blues. So if you are knee deep in the FDSC but find yourself slacking and procrastinating during your fortnight deadline, then feel free to check out how I crammed in 90 pages over four days HERE. My script started well but tapered off into an erratic story. I’ve yet to rewrite it into a proper first draft but I still have hopes that it’s a story with commercial and entertaining value.
In other news, I have a new agent. My post about whether to be with a big agent or small agent generated some discussion between me and my industry friends about whether I should be with a higher profile agency and so they pointed me in the direction of PFD, who were happy to read my work and consequently offer to represent me.
My previous agency was truly supportive and understanding of the move - they’re such a classy act - and we part on extremely amicable terms, and of course they’ll continue to represent the deals they’ve bashed out for me until they expire. I was very happy with them but the opportunity to be with PFD and their top level exposure was too good to turn down, and I now seek to raise my game even higher in order to suitably reflect my new agency status.
There are lots of potentially exciting things going on (EastEnders is still on the go, I have to do a second draft of my trial episode) and everything is going well but there’s a summer lull at the moment, and it’s a stressful time for cash flow and finding paid work. But as I say, you just got to keep going. Keep writing. Find the passion, seek the source. Write.
---
BBC THREE: Funny Hunt
Deadline: 14 July 2006
BBC THREE is looking for original new comedy talent.
All you need to do is film a clip of the funniest stuff you can produce, up to three minutes in length and submit it via the BBC's Comedy Soup website.
The creators of the funniest material will be given exclusive access to some of Britain's top comedy writers, performers and producers at a series of special masterclasses held in Manchester.
For more information, including the rules in full, see the Comedy Soup website.
---
PULSE
The PULSE scheme, launched in 2002 in partnership with the UK Film Council's New Cinema Fund, offers the next generation of London's talent the chance to shine, and producing an array of award winning short films. Film London is pleased to open submissions for PULSE 2006. 8 short digital films will be commissioned with a budget range of £2,000-£10,000.
---
The Spectacle
Deadline: July 31 2006
The Spectacle, a new British comedy website, seeks seriously funny writers.
Until July The Spectacle is undergoing live development and actively seeking contributors to join the staff writers. After this period it will have an open submissions policy, but the greater opportunity exists now to help shape the future of the website.
---
JURGEN WOLFF
ScriptWriter Masterclasses present : Right Brain Scriptwriting Interactive Workshop, 17th June , 10am-5pm (9.30 registration)
Hollywood Pro, qualified hypnotherapist, and NLP specialist Jurgen Wolff, teaches how to tap into your unique creative power using visualisation, self-hypnosis, and advanced brainstorming to create vivid characters and compelling storylines. This highly practical yet creative workshop was a sell out last year- so don’t miss your chance!
Tickets: £60 (10% discount for NPA members)
Book now at RADA Box Office 020 7908 4800
Location: RADA, Malet St, London WC1E 7JN.
For more information: http://www.scriptwritermagazine.com
For queries, ring Janice Day on 07748 652 194
---
Rocliffe New Writing Forums
Rocliffe are currently accepting scripts for the winter season 2006
Rocliffe New Writing Forums commencing in September with Cameron McCracken from Pathé. For an application form email scripts@rocliffe.com or from the web: http://www.rocliffe.com/scriptappl.html
There is no charge to submit a script but you must submit a hard copy with an application form.
---
Sam & Jim Take Over the World
Also, Sam & Jim (of Sam & Jim Go To Hollywood) are thinking of starting a new blog/podcast where writers get to submit sketches, and Sam & Jim will produce them for their new show. They've issued an open-call out to everyone on t'web and beyond. It might be something of interest so check out their website for more details.
***
Kamis, 08 Juni 2006
Tax, Accountants and the Agent's 10%
“Tax doesn’t have to be taxing.”
So says Adam Hart-Davies on behalf of the Inland Revenue.
Hmm, you can see that the Inland Revenue is trying to generate a chummy approach with this advertising slogan but let’s face it, tax is taxing otherwise it wouldn’t be called tax.
I’ve had a couple of emails recently about tax, and what it means to be self-employed. There are a couple of posts from last year that touch on this, more significantly the post about self-assessment and what you need to do. There’s also the post about what you can claim once you’re freelance.
If you’re a self-employed writer, there are two essential go-to guys that you need in your corner. One is, naturally, your agent. Yes, it’s hard to get an agent. But you will. And he/she will be great and possibly guide you to your first accountant, the go-to guy number two.
However, something interesting is happening with the ying yang relationship a writer has with his agent/accountant. An agent will charge you 10% of your earnings and your accountant will write that charge off on your year-end return as tax deductible.
Dude. Sweet. And just. But no.
The Inland Revenue is beginning to think otherwise, and it's picking on Richard and Judy to see if they can reverse this 10% tax deduction, and worse, try to retrospectively claim back what you’ve written off.
“What? Scandal!” I hear you cry. Indeed. But check it out. Mark Huckerby sent me the link. It’s the Revenue’s skewed justification that slays me: “…whereas actors, singers, dancers and musicians have agents as a necessary business expense, other entertainers, sportsmen and authors do not need them. So they can’t claim that the percentage paid to the agent should be ignored for tax purposes.”
It’s a worry. At the moment, it seems like an amusing story line involving two well-loved TV presenters and their wealthy habits but, as Mark puts it, “if they lose, and the precedent is set, we might all be in trouble.” It doesn’t matter if you haven’t earned anything as a writer yet, if your agent’s 10% can’t be deducted against your earnings then future dealings and accounts will be even more stressful than they already are. Even more ways to screw the writer basically.
So says Adam Hart-Davies on behalf of the Inland Revenue.
Hmm, you can see that the Inland Revenue is trying to generate a chummy approach with this advertising slogan but let’s face it, tax is taxing otherwise it wouldn’t be called tax.
I’ve had a couple of emails recently about tax, and what it means to be self-employed. There are a couple of posts from last year that touch on this, more significantly the post about self-assessment and what you need to do. There’s also the post about what you can claim once you’re freelance.
If you’re a self-employed writer, there are two essential go-to guys that you need in your corner. One is, naturally, your agent. Yes, it’s hard to get an agent. But you will. And he/she will be great and possibly guide you to your first accountant, the go-to guy number two.
However, something interesting is happening with the ying yang relationship a writer has with his agent/accountant. An agent will charge you 10% of your earnings and your accountant will write that charge off on your year-end return as tax deductible.
Dude. Sweet. And just. But no.
The Inland Revenue is beginning to think otherwise, and it's picking on Richard and Judy to see if they can reverse this 10% tax deduction, and worse, try to retrospectively claim back what you’ve written off.
“What? Scandal!” I hear you cry. Indeed. But check it out. Mark Huckerby sent me the link. It’s the Revenue’s skewed justification that slays me: “…whereas actors, singers, dancers and musicians have agents as a necessary business expense, other entertainers, sportsmen and authors do not need them. So they can’t claim that the percentage paid to the agent should be ignored for tax purposes.”
It’s a worry. At the moment, it seems like an amusing story line involving two well-loved TV presenters and their wealthy habits but, as Mark puts it, “if they lose, and the precedent is set, we might all be in trouble.” It doesn’t matter if you haven’t earned anything as a writer yet, if your agent’s 10% can’t be deducted against your earnings then future dealings and accounts will be even more stressful than they already are. Even more ways to screw the writer basically.
Selasa, 06 Juni 2006
Starting Again
Last week, after Cannes, I was exhausted. And not much happened. The week kind of just trailed by with post-Cannes follow ups and titbits of writing but with no real focus or promise of cash, which is what was/is really needed. Before Cannes, I was busy on numerous projects, mostly spec work but a couple of small commissions thrown in for good measure, and I was also preparing for the right kind of walk and talk along the Croissette.
Since my return, it occurred to me that I need to hit the ‘reset’ button and start working on new projects, try to generate new ideas, scripts, pitches, proposals. It was a frustrating thought because my mind is still very much attached to the recent work I’ve just completed, and am eager to hear people’s responses to my material. But it’s out of my hands. It’s all reliant on a second or third party now. And I’ve got to wait. We all know waiting is bad though so we have to remain proactive. Keep busy. Keep writing.
Easier said than done. But that’s all we have in our power as writers. We write. And if we’re good, we write commercial and interesting scripts that people want to purchase. The BBC Films/Pathé announcement might seem vague, generic and frustrating even if you have only a passing knowledge of the industry, and how writers are generally treated, but the one true action we can solely control and influence is our capacity to write the stories we want to tell.
I’ve been thinking a lot recently about how writers are treated, and how the industry regards us, and how it could be/should be so much better. One of the main problems is that the industry holds so much power over us because we’re dependent on their approval and finance. As a result, they can dictate their own terms, and make sure they look after themselves with minimum risk while the writer makes the biggest risk of all by living on the seat of his/her pants, taking the time and effort to write a script, and not getting any return while they hope for their work to pay off.
It would take enormous effort and organisation to gather writers everywhere to generate the singular voice required that expresses the way we should to be treated, and the basic rights/courtesies that should be extended to the lowly writer. The snag is that the writers-in-waiting, can say ‘fine, no problem, we’ll do it then, we’ll write for free or whatever’, and a wave of replacement is easily filled. The Writers' Guild of Great Britain is working hard to build their clout to protect and represent the writer. They're great people and we need their voice, but by their own admission, they haven't had a good year.
There’s a certain practicality, professionalism and awareness that writers need to embrace about the industry (occasionally, a free option might be acceptable given the producer’s standing and/or reliance on third parties himself) but that doesn’t mean we need to bend over at every request.
However, that’s not really the point of the post. The point is that we keep writing. It’s okay to get frustrated, it’s okay to let off steam, it’s okay to rant. But it’s not okay to stop writing, or continue to complain, or become that writer grouch in the corner that no-one wants to work with. And even when you get exhausted from the amount of effort and projects you’ve been working on, and feel you’ve hit a wall with your creativity, then by all means take a break. Have a beer, a long weekend. But do come back; stronger, eager and as passionate as ever.
Hit ‘reset’ and start again. Writers write. No excuses.
Since my return, it occurred to me that I need to hit the ‘reset’ button and start working on new projects, try to generate new ideas, scripts, pitches, proposals. It was a frustrating thought because my mind is still very much attached to the recent work I’ve just completed, and am eager to hear people’s responses to my material. But it’s out of my hands. It’s all reliant on a second or third party now. And I’ve got to wait. We all know waiting is bad though so we have to remain proactive. Keep busy. Keep writing.
Easier said than done. But that’s all we have in our power as writers. We write. And if we’re good, we write commercial and interesting scripts that people want to purchase. The BBC Films/Pathé announcement might seem vague, generic and frustrating even if you have only a passing knowledge of the industry, and how writers are generally treated, but the one true action we can solely control and influence is our capacity to write the stories we want to tell.
I’ve been thinking a lot recently about how writers are treated, and how the industry regards us, and how it could be/should be so much better. One of the main problems is that the industry holds so much power over us because we’re dependent on their approval and finance. As a result, they can dictate their own terms, and make sure they look after themselves with minimum risk while the writer makes the biggest risk of all by living on the seat of his/her pants, taking the time and effort to write a script, and not getting any return while they hope for their work to pay off.
It would take enormous effort and organisation to gather writers everywhere to generate the singular voice required that expresses the way we should to be treated, and the basic rights/courtesies that should be extended to the lowly writer. The snag is that the writers-in-waiting, can say ‘fine, no problem, we’ll do it then, we’ll write for free or whatever’, and a wave of replacement is easily filled. The Writers' Guild of Great Britain is working hard to build their clout to protect and represent the writer. They're great people and we need their voice, but by their own admission, they haven't had a good year.
There’s a certain practicality, professionalism and awareness that writers need to embrace about the industry (occasionally, a free option might be acceptable given the producer’s standing and/or reliance on third parties himself) but that doesn’t mean we need to bend over at every request.
However, that’s not really the point of the post. The point is that we keep writing. It’s okay to get frustrated, it’s okay to let off steam, it’s okay to rant. But it’s not okay to stop writing, or continue to complain, or become that writer grouch in the corner that no-one wants to work with. And even when you get exhausted from the amount of effort and projects you’ve been working on, and feel you’ve hit a wall with your creativity, then by all means take a break. Have a beer, a long weekend. But do come back; stronger, eager and as passionate as ever.
Hit ‘reset’ and start again. Writers write. No excuses.
Senin, 05 Juni 2006
UK Film News
On a small note, I've heard it through the grapevine that Celador Films are looking for an intern for about 3 months, for about £300 a week, and duties to include script reading (and actually writing coverage). Sounds good. Don't know if it's widely advertised or anything so just in case I've just gone and pissed them right off by mentioning it, just look them up, contact them yourself and see how you get on.
On a bigger note, read the below:
UKFC, Pathe and BBC start New Development Fund (article by Wendy Mitchell from Screendaily.com)
Pathe and BBC Films are working with the UK Film Council’s Development Fund to launch a new fund to develop film projects.
The parties have committed a minimum of $560,000 (£300,000) for the fund’s first 12 months – $280,000 (£150,000) from the UK Film Council and $140,000 (£75,000) each from BBC Films and Pathe. The fund is tied to but separate from the UKFC’s previously announced super slate funding.
The new fund, to be used only for feature films, is functional immediately. The parties said that by “combining resources to identify properties with commercial potential that might previously have been seen as too expensive to either acquire or develop.”
They noted that above and beyond the initial seed funding, Pathe and the BBC would be able to “move quickly to mobilise whatever funds might be necessary to make a decisive move on a property or writer whose market value may be substantially higher than this initial funding commitment.”
“We’ve nothing in development yet - we want the announcement to act as a signal to the industry that we're willing to pay top dollar for the right project. There is no ceiling on the level of investment we might make in the right project,” Pathe deputy managing director Cameron McCracken told ScreenDaily.com.
Pathe managing director Francois Ivernel noted that the new fund would help these UK players compete with Hollywood for new talents that could turn out to be the next Richard Curtis or to create the next Harry Potter franchise.
“Such major properties or talent rarely appear on the market, but when they do, we are conscious that too often (and not without some justification) the perception is that only the US studios can afford to bid for such talent or engage in such major developments,” he said.
“We want to make everyone aware -- talent, publishers, agents, whoever -- that we are ready to step up to the plate for the right projects. Given the close personal and business relationship that we have built up with the BBC and the UK Film Council over the past several years (most recently as a recipient of a slate fund award), this partnership to engage in the development of ‘bigger’ properties feels a perfect fit."
David Thompson, head of BBC Films, said the new fund would build on the Beeb’s current relationship with Pathe. “We need key partners at the development stage if we are to be really competitive in the search for the most attractive projects and we are sure that Pathe and the BBC will be a very good fit,” he said.
Added Jenny Borgars, head of the UKFC’s Development Fund: "Providing British producers with real resource to develop partnerships that both benefit their businesses and allow them to acquire attractive film material was one of the prime reasons for setting up the slate funding machinery. I'm absolutely delighted for Pathe and the BBC that the slate funding has been the catalyst for this new partnership which will lead to exciting opportunities for British talent and major new films."
On a bigger note, read the below:
UKFC, Pathe and BBC start New Development Fund (article by Wendy Mitchell from Screendaily.com)
Pathe and BBC Films are working with the UK Film Council’s Development Fund to launch a new fund to develop film projects.
The parties have committed a minimum of $560,000 (£300,000) for the fund’s first 12 months – $280,000 (£150,000) from the UK Film Council and $140,000 (£75,000) each from BBC Films and Pathe. The fund is tied to but separate from the UKFC’s previously announced super slate funding.
The new fund, to be used only for feature films, is functional immediately. The parties said that by “combining resources to identify properties with commercial potential that might previously have been seen as too expensive to either acquire or develop.”
They noted that above and beyond the initial seed funding, Pathe and the BBC would be able to “move quickly to mobilise whatever funds might be necessary to make a decisive move on a property or writer whose market value may be substantially higher than this initial funding commitment.”
“We’ve nothing in development yet - we want the announcement to act as a signal to the industry that we're willing to pay top dollar for the right project. There is no ceiling on the level of investment we might make in the right project,” Pathe deputy managing director Cameron McCracken told ScreenDaily.com.
Pathe managing director Francois Ivernel noted that the new fund would help these UK players compete with Hollywood for new talents that could turn out to be the next Richard Curtis or to create the next Harry Potter franchise.
“Such major properties or talent rarely appear on the market, but when they do, we are conscious that too often (and not without some justification) the perception is that only the US studios can afford to bid for such talent or engage in such major developments,” he said.
“We want to make everyone aware -- talent, publishers, agents, whoever -- that we are ready to step up to the plate for the right projects. Given the close personal and business relationship that we have built up with the BBC and the UK Film Council over the past several years (most recently as a recipient of a slate fund award), this partnership to engage in the development of ‘bigger’ properties feels a perfect fit."
David Thompson, head of BBC Films, said the new fund would build on the Beeb’s current relationship with Pathe. “We need key partners at the development stage if we are to be really competitive in the search for the most attractive projects and we are sure that Pathe and the BBC will be a very good fit,” he said.
Added Jenny Borgars, head of the UKFC’s Development Fund: "Providing British producers with real resource to develop partnerships that both benefit their businesses and allow them to acquire attractive film material was one of the prime reasons for setting up the slate funding machinery. I'm absolutely delighted for Pathe and the BBC that the slate funding has been the catalyst for this new partnership which will lead to exciting opportunities for British talent and major new films."
Sabtu, 03 Juni 2006
Weekend Noticeboard
Cannes? Eh? What? When? That’s like, sooo last week. Now it’s back to the daily grind of reality and normality: sitting in front of the computer trying to sort out thoughts and ideas so that they form an entertaining narrative. Or just sitting here waiting for lots of offers to roll in, Hollywood style: “Hey, saw you in Cannes, fancy rewriting Scott Frank?”
Sorry, I said reality and normality didn’t I… so that should be: “Hey, saw you in Cannes, you Irish git”. Luckily still feeling energised and optimistic after the trip so the current lull of no commissions (producers & execs take note) and constipated cash flow isn’t much of a worry… yet. However, still don’t know if I’m going to make it to the Screenwriters’ Festival but it’s looking increasingly unlikely.
Anyway, the sun’s out. Looks like a cracking weekend. Enjoy. See you next week…
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Dawn Dusk Films
Dawn Dusk Films, a new start-up film company, is searching for an exciting script for it's (sic) first feature film. No specific genre is required. You can e-mail Marion Pritchett, the producer, on marion.pritchett@dawnduskfilms.co.uk, or visit Dawn Dusk’s website (although it is under construction).
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VisualEyez Entertainment
VisualEyez Entertainment needs a young, funky and irreverent scriptwriter for a satirical animation project. This is currently a non-broadcast pilot in the early stages of development with some characters and plotlines in place.
An in-depth knowledge of the current music scene is essential as is the ability to produce work with a comical and surreal slant. Please submit an example of your work along with your CV. A fee will be negotiated with the successful applicant.
Email: lisahallatt@yahoo.co.uk
VisualEyez is a newly formed production company based in South West London with many exciting projects in development.
---
Scriptank
Monday 12th June
19.00- 22.00
NPA Film Centre, Unit 1.07, The Tea Building, 56 Shoreditch High Street, London E1 6JJ
£5 per attendee
Moderators: David Cottis/ Katharine Way
Hear your script out loud!
Have your project workshopped!
Get useful feedback from writers and actors.
Make new contacts.
ScriptTank is a long-established writer led organisation. It operates workshops in which scripts are read aloud by professional actors. After reading, the writer is given feedback and constructive criticism aimed at helping them to redraft and market their work. A variety of scripts are read including those for films (feature or short), TV, theatre and radio. It is also possible to pitch new ideas.
Current members include writers, directors, producers and actors (and various combinations of these!) working professionally in TV, film, theatre and radio.
ScriptTank is seeking new members who are serious about developing their work to a marketable professional standard, and are willing to contribute constructively towards the discussion of other writer’s work. We operate a system of trial membership to allow potential new members to find out if we are the kind of group that is most suitable for them and vice versa. If you’re interested in joining as a writer, and/or having your own work read.
Contact David Cottis on 020 7401 9016 or email davidcottis@hotmail.com.
---
Arista Development UK
Applications are now open for Arista's Scribes 2 for Black and Minority Ethnic Screenwriters. Application Deadline: 5pm, Tuesday, 20th June, 2006.
A partnership between Arista Development, BBC Films and Capitol Films Production, one of the UK Film Council-funded 'Super Slates', SCRIBES 2 is a screenplay development programme spread over a period of eight months, designed to fit around the working lives of participants, which gives eight Black and Minority Ethnic screenwriters (we call them SCRIBES), a combination of intensive project development, general screenwriting training and industry experience.
Highlights include an intensive six-day residential script workshop in the Troodos mountains of Cyprus, detailed project feedback from BBC Films and Capitol Films Production executives, mentoring relationships with selected Capitol Films Production Super Slate producers (who are Cuba Pictures, Element Films, Feel Films, Samuelson Productions and Tiger Aspect Pictures) and industry placements within the SCRIBES partner companies, each custom-designed to meet the skills needs of individual SCRIBES.
Each SCRIBE will develop two projects, one original screenplay and one outline, through the programme. The programme culminates with an exclusive "first-look" deal between the ARISTA SCRIBES' developed projects, Capitol Films Production and BBC Films. If Capitol Films Production and/or BBC Films then decide to take any SCRIBES project further, each project will be optioned for a guaranteed fee of £2,000 and a revised draft commissioned for a guaranteed fee of £10,000.
For more information, or to apply now, visit: Arista's website.
---
ScriptWriter Masterclasses present : Right Brain Scriptwriting Interactive Workshop, 17th June , 10am-5pm (9.30 registration)
Searching for inspiration? Looking to access new levels of creativity?
The secret may be tucked away in your brain: your right lobe to be precise.
Hollywood Pro, qualified hypnotherapist, and NLP specialist Jurgen Wolff, teaches how to tap into your unique creative power using visualisation, self-hypnosis, and advanced brainstorming to create vivid characters and compelling storylines.
This highly practical yet creative workshop was a sell out last year- so don’t miss your chance!
Tickets: £60 (10% discount for NPA members)
Book now at RADA Box Office 020 7908 4800
Location: RADA, Malet St, London WC1E 7JN.
For more information: www.scriptwritermagazine.com
For queries, ring Janice Day on 07748 652 194
---
Rocliffe New Writing Forums
Rocliffe are currently accepting scripts for the winter season 2006
Rocliffe New Writing Forums commencing in September with Cameron McCracken from Pathé. For an application form email scripts@rocliffe.com or from the web:
There is no charge to submit a script but you must submit a hard copy with an application form.
***
Sorry, I said reality and normality didn’t I… so that should be: “Hey, saw you in Cannes, you Irish git”. Luckily still feeling energised and optimistic after the trip so the current lull of no commissions (producers & execs take note) and constipated cash flow isn’t much of a worry… yet. However, still don’t know if I’m going to make it to the Screenwriters’ Festival but it’s looking increasingly unlikely.
Anyway, the sun’s out. Looks like a cracking weekend. Enjoy. See you next week…
---
Dawn Dusk Films
Dawn Dusk Films, a new start-up film company, is searching for an exciting script for it's (sic) first feature film. No specific genre is required. You can e-mail Marion Pritchett, the producer, on marion.pritchett@dawnduskfilms.co.uk, or visit Dawn Dusk’s website (although it is under construction).
---
VisualEyez Entertainment
VisualEyez Entertainment needs a young, funky and irreverent scriptwriter for a satirical animation project. This is currently a non-broadcast pilot in the early stages of development with some characters and plotlines in place.
An in-depth knowledge of the current music scene is essential as is the ability to produce work with a comical and surreal slant. Please submit an example of your work along with your CV. A fee will be negotiated with the successful applicant.
Email: lisahallatt@yahoo.co.uk
VisualEyez is a newly formed production company based in South West London with many exciting projects in development.
---
Scriptank
Monday 12th June
19.00- 22.00
NPA Film Centre, Unit 1.07, The Tea Building, 56 Shoreditch High Street, London E1 6JJ
£5 per attendee
Moderators: David Cottis/ Katharine Way
Hear your script out loud!
Have your project workshopped!
Get useful feedback from writers and actors.
Make new contacts.
ScriptTank is a long-established writer led organisation. It operates workshops in which scripts are read aloud by professional actors. After reading, the writer is given feedback and constructive criticism aimed at helping them to redraft and market their work. A variety of scripts are read including those for films (feature or short), TV, theatre and radio. It is also possible to pitch new ideas.
Current members include writers, directors, producers and actors (and various combinations of these!) working professionally in TV, film, theatre and radio.
ScriptTank is seeking new members who are serious about developing their work to a marketable professional standard, and are willing to contribute constructively towards the discussion of other writer’s work. We operate a system of trial membership to allow potential new members to find out if we are the kind of group that is most suitable for them and vice versa. If you’re interested in joining as a writer, and/or having your own work read.
Contact David Cottis on 020 7401 9016 or email davidcottis@hotmail.com.
---
Arista Development UK
Applications are now open for Arista's Scribes 2 for Black and Minority Ethnic Screenwriters. Application Deadline: 5pm, Tuesday, 20th June, 2006.
A partnership between Arista Development, BBC Films and Capitol Films Production, one of the UK Film Council-funded 'Super Slates', SCRIBES 2 is a screenplay development programme spread over a period of eight months, designed to fit around the working lives of participants, which gives eight Black and Minority Ethnic screenwriters (we call them SCRIBES), a combination of intensive project development, general screenwriting training and industry experience.
Highlights include an intensive six-day residential script workshop in the Troodos mountains of Cyprus, detailed project feedback from BBC Films and Capitol Films Production executives, mentoring relationships with selected Capitol Films Production Super Slate producers (who are Cuba Pictures, Element Films, Feel Films, Samuelson Productions and Tiger Aspect Pictures) and industry placements within the SCRIBES partner companies, each custom-designed to meet the skills needs of individual SCRIBES.
Each SCRIBE will develop two projects, one original screenplay and one outline, through the programme. The programme culminates with an exclusive "first-look" deal between the ARISTA SCRIBES' developed projects, Capitol Films Production and BBC Films. If Capitol Films Production and/or BBC Films then decide to take any SCRIBES project further, each project will be optioned for a guaranteed fee of £2,000 and a revised draft commissioned for a guaranteed fee of £10,000.
For more information, or to apply now, visit: Arista's website.
---
ScriptWriter Masterclasses present : Right Brain Scriptwriting Interactive Workshop, 17th June , 10am-5pm (9.30 registration)
Searching for inspiration? Looking to access new levels of creativity?
The secret may be tucked away in your brain: your right lobe to be precise.
Hollywood Pro, qualified hypnotherapist, and NLP specialist Jurgen Wolff, teaches how to tap into your unique creative power using visualisation, self-hypnosis, and advanced brainstorming to create vivid characters and compelling storylines.
This highly practical yet creative workshop was a sell out last year- so don’t miss your chance!
Tickets: £60 (10% discount for NPA members)
Book now at RADA Box Office 020 7908 4800
Location: RADA, Malet St, London WC1E 7JN.
For more information: www.scriptwritermagazine.com
For queries, ring Janice Day on 07748 652 194
---
Rocliffe New Writing Forums
Rocliffe are currently accepting scripts for the winter season 2006
Rocliffe New Writing Forums commencing in September with Cameron McCracken from Pathé. For an application form email scripts@rocliffe.com or from the web:
There is no charge to submit a script but you must submit a hard copy with an application form.
***
Kamis, 01 Juni 2006
It's Breakfast Club meets Psycho
In a written pitch, should I reference other titles to similar-genre films or does that make it look unoriginal?
That’s a very good question. I don’t know where it originated from (but it’d be interesting to find out) but the classic pitch of “It’s … meets … “ has become a source of contentious pitching, some it of playful argument, some with more bug-eyed venom against the form.
It seems that most people like to pour scorn or derision on this particular style of pitch but in truth, it’s such a regular and handy way to describe a project because it serves as a neat reference guide for the person you’re pitching to.
Of course, you don’t want to go down the route of ‘The Player’ and choose oxymoron titles for your pitch (“It’s Out of Africa meets Pretty Woman”) as that won’t make a lot of sense and will see you out the door before your Diet Coke with a hint of lime has had a chance to kiss its ice cubes.
We had a chat about this style of pitching in Cannes (I say 'we', just a bunch of writers having a few beers) and we thought that it was okay to say 'Pitch Black' meets 'Mad Max' IN CONVERSATION but putting this type of description on official pitching documents should be avoided.
In conversation, casual charm and endearing comparisons are easy to generate as opposed to authorising the words on a page. (How many emails or blogger comments have you misread because you didn’t catch the tone?)
It's always best for someone to read your stuff and they say: "So it's Superman meets Alien" and you go: "Exactamundo" and they nod like they've cracked a secret code or something.
I had one exec describe my new horror as: "So it’s Donnie Darko meets American Werewolf in London" and while he thought this sounded cool, I had to say, er, actually the script is nothing like Donnie Darko meets American Werewolf. Although maybe I should start writing that...
That’s a very good question. I don’t know where it originated from (but it’d be interesting to find out) but the classic pitch of “It’s … meets … “ has become a source of contentious pitching, some it of playful argument, some with more bug-eyed venom against the form.
It seems that most people like to pour scorn or derision on this particular style of pitch but in truth, it’s such a regular and handy way to describe a project because it serves as a neat reference guide for the person you’re pitching to.
Of course, you don’t want to go down the route of ‘The Player’ and choose oxymoron titles for your pitch (“It’s Out of Africa meets Pretty Woman”) as that won’t make a lot of sense and will see you out the door before your Diet Coke with a hint of lime has had a chance to kiss its ice cubes.
We had a chat about this style of pitching in Cannes (I say 'we', just a bunch of writers having a few beers) and we thought that it was okay to say 'Pitch Black' meets 'Mad Max' IN CONVERSATION but putting this type of description on official pitching documents should be avoided.
In conversation, casual charm and endearing comparisons are easy to generate as opposed to authorising the words on a page. (How many emails or blogger comments have you misread because you didn’t catch the tone?)
It's always best for someone to read your stuff and they say: "So it's Superman meets Alien" and you go: "Exactamundo" and they nod like they've cracked a secret code or something.
I had one exec describe my new horror as: "So it’s Donnie Darko meets American Werewolf in London" and while he thought this sounded cool, I had to say, er, actually the script is nothing like Donnie Darko meets American Werewolf. Although maybe I should start writing that...
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