Here's the 25 words or less review of the year:
Started off quite stressfully but gradually improved; earned more for writing than script editing, a good turnaround, and feeling positive about the year ahead.
Here's the slightly longer version, if anyone's interested:
2006 was shite for all sorts of reasons. 2007 couldn't get worse, could it? Not if I had anything to do with it. The early months of the New Year were quite stressful as I chased a couple of projects down dark dead ends, causing some bruises of resentment and ill-feeling with the producers who had led me there.
The first positive turnaround came with the pilot of Sofia's Diary, the new interactive teen drama, for Sony and Bebo. This opportunity was thanks to a contact I met in Cannes, so the trip to the south of France was certainly useful.
Then, through the blog, I had an idea for a new screenwriting competition and I took it to a few people in the industry. Basically the pitch was that there should be a script comp where it's not just about the prize but it's what happens afterwards. In short, help the winner with their career. Some nibbled with curiosity and an official proposal was written up and sent out. One particular writer/producer leaped on it immediately, Tony Jordan, and came up with an amazingly generous prize: 5k cash, a commission on one of his shows and agent representation if you didn't already have it. Wowzer! The competition became the Red Planet Prize, which we launched at the Screenwriters' Festival in the summer (the finalists will be announced in January). Surprisingly, setting up the competition happened very easily and quickly, but I'm secretly proud of its inaugural success.
More work came with Sofia's Diary, which nabbed an on-line commission (in a similar guise to Bebo's Kate Modern). Interactive wave of the future, Jack. Get with it. I also wrote an animated corporate short film: why not, the cash was good. I script edited a few things, more notably Kings, the Irish language feature which was released to some acclaim, also a sci-fi flick and a radio play. And then, just before Christmas, a commission for a new kids' series came completely out of the blue, and so am working on that as I type.
So, all in all, a good year mixed with the usual stresses of work uncertainty and rejections, some more disappointing than others (came very close to a Hollywood movie deal but after the biggest pitch of my life, it didn't come to pass).
Overall lessons learned from the year: just when you think you can't push yourself any further, you have to work harder. Keep writing, keep learning, don't stop; don't be good, be great.
2008 is going to be bigger and better. Bring it on.
Senin, 31 Desember 2007
Senin, 17 Desember 2007
Comedy Specs
In preparation for my Raindance talk a couple of weeks ago, I asked a few development execs what they were looking for in comedy scripts (feature films). This led to an interesting discussion about the current market, and what makes a comedy feature tick. A couple of the execs gave up their time to chat over a coffee - and one even invited me to a company meeting on the subject! - so I was certainly glad I asked.
So, what did they say?
Well first, the good news. Film companies are desperate for comedy scripts. They can’t get enough of them. There are a couple of reasons for this. Comedy films are good for box office (always popular with audiences), and they are relatively inexpensive to make. Comedy does have healthy subgenres like romantic comedy, comedy crime, comedy action etc but when one of these films work, they’re mainly remembered for their comedic element.
Leading the way in the current market is the Judd Apatow school of comedy (Knocked Up, Superbad etc) where there’s usually a strong concept combined with a level of reality and identifiable characters. These are typically male-driven comedies and combine broad comedy with other subgenres like slapstick, etc. They show a sensitive side whilst also pushing the boundaries of taste and decency, which creates a natural comic milieu.
A good comedy will work with a clear concept (inviting hook) and real scenarios that develop from this situation. The goofball and silly comedies of Will Ferrell and Sacha Baron-Cohen also work really well but these are reliant on the performance of the star/actor. Indie comedies can also prove popular and worthwhile. These are usually black comedies, or films that take an alternative/offbeat approach but will usually have a ‘good heart’ or an inviting hook to make them appealing and engaging.
In the UK, a criticism about some comedy scripts is that the characters aren’t real. The stories aren’t about anything. They don’t have a strong concept - no theme - and they have nothing to say. Also, there are too many scripts trying to riff off the success of Richard Curtis. As a result, there is a surfeit of wedding comedies (enough already with the best man/bridesmaid stuff!). The scripts are too familiar and derivative, and offer no surprises.
If you’re thinking of packaging a UK comedy for a budget over £10m, then there’s only a handful of actors that can fit the bill: Simon Pegg, Ricky Gervais, Sacha Baron Cohen, Steve Coogan and possibly even Lucas/Walliams. On the lower budget scale, you could look to make a comedy film for £2million (like the recent ‘The Magicans’ with Mithcell & Webb).
So, how does a spec writer get a break?
If you’re serious about getting your comedy script made, you need to get it in the right hands. So, targeting film companies that actually make and distribute films in this country is a good idea. Film companies like Working Title, Ealing Studios, Tiger Aspect, Big Talk etc. Having an agent obviously helps to get your script accepted and read but often this isn’t enough to make the impression that the companies are looking for. The industry reacts to stars and box office, and tries to anticipate what will work and what will sell. If you’re just John from Croydon with a reasonably amusing comedy script in the spec pile, it’s not going to do much. However, if you’ve already established a good track record in radio or TV, as a stand-up or with writing elsewhere, and perhaps have won a creditable award, this will give the project more bite and appeal.
The best advice is to get involved with the comedy fraternity in whatever way possible. Don’t be a spec writer sitting at home and working in the bank. Work in TV, or write sketches, or do radio; build your profile, network, get known and write a good script. Use your contacts. Talk to the people you know. Show some initiative. Go to the Edinburgh Festival. Talk to comedians after their shows, tell them about your project or that you’re interested in writing a film for them - attach their name, get their endorsement, get ahead.
Alternatively, make your film yourself. Comedy can be achieved on a low-budget. Don’t have the funds? Then make a trailer, or a sketch. A funny short film. Put it on You Tube, enter film festivals, see what happens. Generate some ‘heat’ and interest.
OK, so what key qualities does a comedy film need if it's going to work?
Well, breaking it down, it starts with -
Strength of Concept/Originality
Not necessarily high concept but a premise that clearly indicates that it has strong comic value. Something that when you’re told the idea, you go ‘that’s funny’. Some concepts may be okay but once you know who’s involved, you can go ‘ok, right, I get it’.
Characters
The right characters are possibly the most essential element of a winning comedy film. Make them multi-dimensional. Interesting. Real. Or a reality within the context of the story. That’s where the majority of the humour comes from; once we understand who the characters are and what’s happening, we’ll find what they’re doing to be amusing, whilst in an everday situation or a different context, it mightn’t mean anything.
Structure
Comedy has a very demanding structure. In general, it’s about the funny storytelling experience, not just individual gags or banter. And it’s not just three-act structure, or five-act, or 22 steps, or whatever kind of structure you subscribe to. Think about your set pieces - your laugh out loud moments. The bits in the story that increase the hero’s jeopardy (one exec used Mrs Doubtfire as an example - where Robin Williams has to appear as himself AND the Scottish nanny while the social worker comes to visit) or the moments that give you the big laughs (like the waxing scene in 40 Year Old Virgin, or the drunk drive home, amongst others). A lot of spec scripts don’t focus on these kind of moments. They just go by on a fairly linear level, employing some witty banter if they can, and that’s about it.
A good comedy will have a variety of humour, and not just be dialogue-based (otherwise it feels like a sitcom). So think of the visual, verbal and sophisticated (not to mention puerile) humour that could be generated from the concept, characters and story.
Taste & Decency/Talking Points
Think of your trailer moments, and stuff that might get talked about. Comedy needs to grab your attention, and this will invariably come from the strength of the concept. However, in relation to set pieces (structure) and premise, you can push the boundaries of taste and decency whilst ensuring that’s it’s relative to the story. This can get the script talked about or want to be read (a teenager shagging an American pie anybody?)
Tone
Another strong consideration, as execs like a tone that’s consistent from start to finish. Knowing what kind of comedy you’re writing, who you’re characters are and what you have in store from them. Having a variety of comedy (visual, verbal, physical) doesn’t mean that the comedy style should be erratic or unfocused, or doesn’t stick to what the heart of the film is about.
Lead or Ensemble?
Try to think of a good lead role for an actor to play. A role that's ripe for a popular comic actor; that people will want to see. Look at the recent success of 'Run Fat Boy Boy'. On paper, the script is amusing and endearing, while the appeal of Simon Pegg, and possibly David Schwimmer directing, made the teen audience come back for more (making a staggering £10m at the UK box office). The target audience for comedy films is 15-25. If your comedy is an ensemble piece, it makes it even harder to cast and to market, and these types of comedies can struggle at the box office.
Phew, got all that? A lot to consider then, just like writing any script, but of course, the most important element of a comedy is the most obvious: it’s got to be funny. Simple, eh?
So, what did they say?
Well first, the good news. Film companies are desperate for comedy scripts. They can’t get enough of them. There are a couple of reasons for this. Comedy films are good for box office (always popular with audiences), and they are relatively inexpensive to make. Comedy does have healthy subgenres like romantic comedy, comedy crime, comedy action etc but when one of these films work, they’re mainly remembered for their comedic element.
Leading the way in the current market is the Judd Apatow school of comedy (Knocked Up, Superbad etc) where there’s usually a strong concept combined with a level of reality and identifiable characters. These are typically male-driven comedies and combine broad comedy with other subgenres like slapstick, etc. They show a sensitive side whilst also pushing the boundaries of taste and decency, which creates a natural comic milieu.
A good comedy will work with a clear concept (inviting hook) and real scenarios that develop from this situation. The goofball and silly comedies of Will Ferrell and Sacha Baron-Cohen also work really well but these are reliant on the performance of the star/actor. Indie comedies can also prove popular and worthwhile. These are usually black comedies, or films that take an alternative/offbeat approach but will usually have a ‘good heart’ or an inviting hook to make them appealing and engaging.
In the UK, a criticism about some comedy scripts is that the characters aren’t real. The stories aren’t about anything. They don’t have a strong concept - no theme - and they have nothing to say. Also, there are too many scripts trying to riff off the success of Richard Curtis. As a result, there is a surfeit of wedding comedies (enough already with the best man/bridesmaid stuff!). The scripts are too familiar and derivative, and offer no surprises.
If you’re thinking of packaging a UK comedy for a budget over £10m, then there’s only a handful of actors that can fit the bill: Simon Pegg, Ricky Gervais, Sacha Baron Cohen, Steve Coogan and possibly even Lucas/Walliams. On the lower budget scale, you could look to make a comedy film for £2million (like the recent ‘The Magicans’ with Mithcell & Webb).
So, how does a spec writer get a break?
If you’re serious about getting your comedy script made, you need to get it in the right hands. So, targeting film companies that actually make and distribute films in this country is a good idea. Film companies like Working Title, Ealing Studios, Tiger Aspect, Big Talk etc. Having an agent obviously helps to get your script accepted and read but often this isn’t enough to make the impression that the companies are looking for. The industry reacts to stars and box office, and tries to anticipate what will work and what will sell. If you’re just John from Croydon with a reasonably amusing comedy script in the spec pile, it’s not going to do much. However, if you’ve already established a good track record in radio or TV, as a stand-up or with writing elsewhere, and perhaps have won a creditable award, this will give the project more bite and appeal.
The best advice is to get involved with the comedy fraternity in whatever way possible. Don’t be a spec writer sitting at home and working in the bank. Work in TV, or write sketches, or do radio; build your profile, network, get known and write a good script. Use your contacts. Talk to the people you know. Show some initiative. Go to the Edinburgh Festival. Talk to comedians after their shows, tell them about your project or that you’re interested in writing a film for them - attach their name, get their endorsement, get ahead.
Alternatively, make your film yourself. Comedy can be achieved on a low-budget. Don’t have the funds? Then make a trailer, or a sketch. A funny short film. Put it on You Tube, enter film festivals, see what happens. Generate some ‘heat’ and interest.
OK, so what key qualities does a comedy film need if it's going to work?
Well, breaking it down, it starts with -
Strength of Concept/Originality
Not necessarily high concept but a premise that clearly indicates that it has strong comic value. Something that when you’re told the idea, you go ‘that’s funny’. Some concepts may be okay but once you know who’s involved, you can go ‘ok, right, I get it’.
Characters
The right characters are possibly the most essential element of a winning comedy film. Make them multi-dimensional. Interesting. Real. Or a reality within the context of the story. That’s where the majority of the humour comes from; once we understand who the characters are and what’s happening, we’ll find what they’re doing to be amusing, whilst in an everday situation or a different context, it mightn’t mean anything.
Structure
Comedy has a very demanding structure. In general, it’s about the funny storytelling experience, not just individual gags or banter. And it’s not just three-act structure, or five-act, or 22 steps, or whatever kind of structure you subscribe to. Think about your set pieces - your laugh out loud moments. The bits in the story that increase the hero’s jeopardy (one exec used Mrs Doubtfire as an example - where Robin Williams has to appear as himself AND the Scottish nanny while the social worker comes to visit) or the moments that give you the big laughs (like the waxing scene in 40 Year Old Virgin, or the drunk drive home, amongst others). A lot of spec scripts don’t focus on these kind of moments. They just go by on a fairly linear level, employing some witty banter if they can, and that’s about it.
A good comedy will have a variety of humour, and not just be dialogue-based (otherwise it feels like a sitcom). So think of the visual, verbal and sophisticated (not to mention puerile) humour that could be generated from the concept, characters and story.
Taste & Decency/Talking Points
Think of your trailer moments, and stuff that might get talked about. Comedy needs to grab your attention, and this will invariably come from the strength of the concept. However, in relation to set pieces (structure) and premise, you can push the boundaries of taste and decency whilst ensuring that’s it’s relative to the story. This can get the script talked about or want to be read (a teenager shagging an American pie anybody?)
Tone
Another strong consideration, as execs like a tone that’s consistent from start to finish. Knowing what kind of comedy you’re writing, who you’re characters are and what you have in store from them. Having a variety of comedy (visual, verbal, physical) doesn’t mean that the comedy style should be erratic or unfocused, or doesn’t stick to what the heart of the film is about.
Lead or Ensemble?
Try to think of a good lead role for an actor to play. A role that's ripe for a popular comic actor; that people will want to see. Look at the recent success of 'Run Fat Boy Boy'. On paper, the script is amusing and endearing, while the appeal of Simon Pegg, and possibly David Schwimmer directing, made the teen audience come back for more (making a staggering £10m at the UK box office). The target audience for comedy films is 15-25. If your comedy is an ensemble piece, it makes it even harder to cast and to market, and these types of comedies can struggle at the box office.
Phew, got all that? A lot to consider then, just like writing any script, but of course, the most important element of a comedy is the most obvious: it’s got to be funny. Simple, eh?
Jumat, 14 Desember 2007
Unique Words
UPDATE AT THE END
A certain Mr Stack in Los Angeles (no relation but am always pleased to see the name - it even crops up in number 6 of the latest 'Black List' ), reports that "w00t" has been deemed 2007's word of the year. He then points out a real humdinger - "sardoodledom".
I've got one for you.
Doorooby.
To be used when you're working on a script/rewrite/outline etc but not with any definite goal or direction.
For example: "I'll just do a doorooby on that, see where it takes me". Or, "I'm stuck on page 5. Let me have a doorooby and I'll get back to you..."
I currently annoy my co-writer Sam by saying it to him. I don't expect it will catch on...
Anybody got their own unique words that they like to use but wouldn't make sense to anyone else?
** UPDATE **
Charlie Brooker (who surely deserves his own TV channel, not just his essential Screenwipe programme on BBC4) has a good one with 'contesticock': the self-aware contestants on any TV game show, who are cock-heads that deserve to die.
A certain Mr Stack in Los Angeles (no relation but am always pleased to see the name - it even crops up in number 6 of the latest 'Black List' ), reports that "w00t" has been deemed 2007's word of the year. He then points out a real humdinger - "sardoodledom".
I've got one for you.
Doorooby.
To be used when you're working on a script/rewrite/outline etc but not with any definite goal or direction.
For example: "I'll just do a doorooby on that, see where it takes me". Or, "I'm stuck on page 5. Let me have a doorooby and I'll get back to you..."
I currently annoy my co-writer Sam by saying it to him. I don't expect it will catch on...
Anybody got their own unique words that they like to use but wouldn't make sense to anyone else?
** UPDATE **
Charlie Brooker (who surely deserves his own TV channel, not just his essential Screenwipe programme on BBC4) has a good one with 'contesticock': the self-aware contestants on any TV game show, who are cock-heads that deserve to die.
Selasa, 11 Desember 2007
Q&A: Justin Trefgarne
Two years ago, Justin was a development executive at Working Title Films; for most of us, a job to envy. You may remember he did a Q&A for the blog (in fact, it was the very first of the Q&A series!) and gave us an insight into the development process of the UK's biggest and most successful production company.
Then, he made the big and brave decision to go freelance as a writer/director. Quite a bold move indeed, because, as we all know, living the life of a freelancer is no easy task, no matter who you know or what your last project was. So, how's Justin been getting on? What has he been up to? I fired another Q&A at him to find out...
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It’s been two years since you went freelance (hasn’t it?!). What have you been up to, and how are you doing…?
I’ve been writing mainly and I’ve also made a couple of shorts.
Can we watch your shorts on-line or are you aiming for the festival circuit, or are you simply hoping to increase your experience, make more shorts, and eventually make your debut feature?
I made a Sci-Fi short called LIFE:XP which has been extremely well received but I never saw it as a festival film, a view that was endorsed by the fact that we got turned down by Edinburgh. We tried a couple of others too, but they also told us to piss off, so I’m going to hang fire for a while. I’ve heard that the US festivals are more receptive to this kind of film so maybe we’ll try a couple of those. But the purpose of doing them is above all to make a decent film with the resources available.
However intuitive you might be, you’ve got to practice and I really relish the challenge of making a story work in 10-15minutes. There’s a pressure to make a masterpiece every time, which is fine, but of course the reality is you need to learn, so for me the shorts are above all about actually doing it rather than just talking about it, which is where I came from with a background in development. And then yes, the feature will be the next step.
How has your experience in development affected your approach to writing and directing?
While I was at Working Title I was privileged enough to work with, or see working, some really classy people. In my view that’s worth as much as a year at film school not least because they are doing it for real ie they are making films with the pressures of real money behind them and an expectation that the movie will perform in theatres. It’s something that can’t be simulated – I’m not sure how healthy it is to function without a sense of the business side of film-making, even if you are a writer or a director.
Anyway, that’s my own view and Working Title was the engine room of decision-making and commercial awareness that I needed to experience personally. I’ve had a rather sheltered life and I needed to see first hand the way these people worked. It was a steep learning curve, and what is happening now is I am putting that experience together with my more instinctive, creative self that’s always been there and forging ahead with my own projects. There’s also no doubt I learned a hell of a lot at WT about myself and about scripts. But development as a way of life, it just wasn’t for me ultimately. There’s a danger that it can become an end in itself, as if there is this perfect thing called the screenplay that can somehow exist in isolation to production.
I remember showing up on set for LIFE:XP, it was like a religious moment when I just had this overwhelming sense of yes charge through me. And then I realised – development is about one thing if it’s about anything, and that’s production. But because it’s so hard to achieve that you become risk averse, after all there’s nothing threatening about an unmade script. I think you can almost kid yourself into thinking that you’ve made the film when you’ve developed a script ad nauseam. But you haven’t, it’s only a third of the process, only a third of the journey.
What’s a typical working day now that you’re freelance?
Well, I get up at 6.30am, get my five year old son off to school and return at about 8.45 for a cup of coffee with my wife. Then, if I don’t have any meetings I go into my office, which happens to be an old garden shed I insulated and rigged up power and internet to. It’s a truly awesome little space. I can’t quite describe how special it is to me. My garden overlooks a little river called the Wandle that flows into the Thames, so it’s quiet and I get a lot done. The daytime isn’t really for writing though as I also freelance as a script editor on a few projects and I am a visiting lecturer on a screenwriting MA at Westminster University, so I have quite a workload from those things too. There’s the inevitable phone calls too – I’m finishing a short, I’m developing a script with some writer friends and I’m chasing up on my own script which has just gone out, so all that needs attending to. In the afternoon I stop around 5-ish to help get the children to bed, something I am very protective of, and then after supper I’ll go back into the shed and write for a few hours. I’m trying to follow Stephen King’s example of writing every day whatever the circumstances; it’s not easy to achieve.
Writing is one of those things that looks very odd from the outside. Loads of walking about, going into shops and browsing, watching odd bits of DVDs and then chunks of intense, furious, exhausting typing. What people who don’t write don’t quite get is it’s all writing – the actual typing is only a piece of the pie. I’ve learned though that if I don’t manage any writing in a day I can be quite unpleasant to live with. You become quite gnomic and self-centred if you’re not careful. That’s where my bike comes in. The single greatest aid to a writing career. I’ve solved nearly all of my story problems on my bike, there’s something about pedalling that unlocks the imagination. So the other thing I try to do every day is cycle somewhere. I’m addicted, and it’s by far the best way to get around in London. Then it’s bed – depending on children etc between 11 and midnight, unless I’m chasing a deadline and then it’s probably going to spill into the small hours. I love working at night. It’s just my best time.
What’s the biggest difference you’ve noticed between working for a production company and being a freelancer (e.g people less willing to return your calls!)
When you’re an employee people pay you monthly on roughly the same day. When you’re self-employed, they throw your invoices into a big furnace and gleefully watch them burn.
What was the last film you paid to see at the cinema?
30 Days Of Night, which I was very excited about and turned out to be awful.
Would you like to work in TV, commercials or music videos?
Yes, yes and yes.
What’s your favourite part of the job - what makes it all worthwhile?
I love all of it. The struggle is to stay sane while you’re not doing it. I was nervous about writing as it is so solitary but I love that too. Maybe, though, just maybe the experience that nudges ahead of all others is shooting itself. Some people find it boring apparently which I don’t understand at all. The film set is the closest thing to heaven on this earth.
Who’s your favourite director?
Impossible to select one. I tend to have crazes on people. I’m just coming out of a Dario Argento obsession and going back to early Spielberg, which is unadulterated genius.
What’s next?
There’s a few things hovering, but my absolute priority is to make a film next year. I love this life but the only way is forward, whatever it takes.
And finally… what film that would you like to remake, and what would you do to give it a modern update?
I’d like to do Rio Bravo, but in a really violent, authentic way. To dig deep into the world and extract as much detail as possible to make it feel real. The West is like science fiction these days it’s so alien to us, and that’s very exciting as you can go into the world and build it from scratch, creating something that people won’t have seen before. Then I’d make the bad guys very scary, like the Terminator or something, endow them with a sense of the unstoppable. All building towards this massive, biblical showdown between the sheriff and the outlaws.
And I think I’d want to kill the sheriff, because sacrifice is the only real way to complete a character like that these days. And once I’d done that, I’d remake Wuthering Heights. It’s by far the greatest novel of Romanticism. In my experience love is much more of a Heathcliff-Cathy thing than it is Lizzie-Darcy. But I’d want to do it as brutally as it’s presented in the book. In a way it’s the first real horror novel, paving the way for everyone that was to follow. It’s just the most amazing story and the payoff is devastating – this man, who has been destroyed by the love of his life, comes back to wreak revenge on her family – but then at the end you realise that all he has ever wanted is to be with her again, and so he gets his wish but in the most dreadful, terrifying way. It’s just incredible, infused with dread and suffering and this epic, devastating love. Is it modern? I don’t know the answer to that, but I do know that film makers like Joe Wright are showing that period films are as valid as contemporary.
In Wuthering Heights you’ve again got this kind of science fiction world of stranded people in this vicious landscape. It’s completely contained and everything – even the weather – is at the mercy of the story. I think being relevant is one of the more irrelevant things to worry about when you’re making films. It only matters if it affects you personally – you just have to take a chance. It’s all risk in the end. Look at all those Iraq war movies that are tanking at the box office – nothing is more relevant than them, but no one’s interested. We’re after something that transcends our existence, not something that merely documents it. A story like Wuthering Heights has already survived two hundred years of fashion, and I’ve got a feeling it will survive another two hundred. Imagine making a film that even got close to that…
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Thanks Justin! Great stuff.
Then, he made the big and brave decision to go freelance as a writer/director. Quite a bold move indeed, because, as we all know, living the life of a freelancer is no easy task, no matter who you know or what your last project was. So, how's Justin been getting on? What has he been up to? I fired another Q&A at him to find out...
---
It’s been two years since you went freelance (hasn’t it?!). What have you been up to, and how are you doing…?
I’ve been writing mainly and I’ve also made a couple of shorts.
Can we watch your shorts on-line or are you aiming for the festival circuit, or are you simply hoping to increase your experience, make more shorts, and eventually make your debut feature?
I made a Sci-Fi short called LIFE:XP which has been extremely well received but I never saw it as a festival film, a view that was endorsed by the fact that we got turned down by Edinburgh. We tried a couple of others too, but they also told us to piss off, so I’m going to hang fire for a while. I’ve heard that the US festivals are more receptive to this kind of film so maybe we’ll try a couple of those. But the purpose of doing them is above all to make a decent film with the resources available.
However intuitive you might be, you’ve got to practice and I really relish the challenge of making a story work in 10-15minutes. There’s a pressure to make a masterpiece every time, which is fine, but of course the reality is you need to learn, so for me the shorts are above all about actually doing it rather than just talking about it, which is where I came from with a background in development. And then yes, the feature will be the next step.
How has your experience in development affected your approach to writing and directing?
While I was at Working Title I was privileged enough to work with, or see working, some really classy people. In my view that’s worth as much as a year at film school not least because they are doing it for real ie they are making films with the pressures of real money behind them and an expectation that the movie will perform in theatres. It’s something that can’t be simulated – I’m not sure how healthy it is to function without a sense of the business side of film-making, even if you are a writer or a director.
Anyway, that’s my own view and Working Title was the engine room of decision-making and commercial awareness that I needed to experience personally. I’ve had a rather sheltered life and I needed to see first hand the way these people worked. It was a steep learning curve, and what is happening now is I am putting that experience together with my more instinctive, creative self that’s always been there and forging ahead with my own projects. There’s also no doubt I learned a hell of a lot at WT about myself and about scripts. But development as a way of life, it just wasn’t for me ultimately. There’s a danger that it can become an end in itself, as if there is this perfect thing called the screenplay that can somehow exist in isolation to production.
I remember showing up on set for LIFE:XP, it was like a religious moment when I just had this overwhelming sense of yes charge through me. And then I realised – development is about one thing if it’s about anything, and that’s production. But because it’s so hard to achieve that you become risk averse, after all there’s nothing threatening about an unmade script. I think you can almost kid yourself into thinking that you’ve made the film when you’ve developed a script ad nauseam. But you haven’t, it’s only a third of the process, only a third of the journey.
What’s a typical working day now that you’re freelance?
Well, I get up at 6.30am, get my five year old son off to school and return at about 8.45 for a cup of coffee with my wife. Then, if I don’t have any meetings I go into my office, which happens to be an old garden shed I insulated and rigged up power and internet to. It’s a truly awesome little space. I can’t quite describe how special it is to me. My garden overlooks a little river called the Wandle that flows into the Thames, so it’s quiet and I get a lot done. The daytime isn’t really for writing though as I also freelance as a script editor on a few projects and I am a visiting lecturer on a screenwriting MA at Westminster University, so I have quite a workload from those things too. There’s the inevitable phone calls too – I’m finishing a short, I’m developing a script with some writer friends and I’m chasing up on my own script which has just gone out, so all that needs attending to. In the afternoon I stop around 5-ish to help get the children to bed, something I am very protective of, and then after supper I’ll go back into the shed and write for a few hours. I’m trying to follow Stephen King’s example of writing every day whatever the circumstances; it’s not easy to achieve.
Writing is one of those things that looks very odd from the outside. Loads of walking about, going into shops and browsing, watching odd bits of DVDs and then chunks of intense, furious, exhausting typing. What people who don’t write don’t quite get is it’s all writing – the actual typing is only a piece of the pie. I’ve learned though that if I don’t manage any writing in a day I can be quite unpleasant to live with. You become quite gnomic and self-centred if you’re not careful. That’s where my bike comes in. The single greatest aid to a writing career. I’ve solved nearly all of my story problems on my bike, there’s something about pedalling that unlocks the imagination. So the other thing I try to do every day is cycle somewhere. I’m addicted, and it’s by far the best way to get around in London. Then it’s bed – depending on children etc between 11 and midnight, unless I’m chasing a deadline and then it’s probably going to spill into the small hours. I love working at night. It’s just my best time.
What’s the biggest difference you’ve noticed between working for a production company and being a freelancer (e.g people less willing to return your calls!)
When you’re an employee people pay you monthly on roughly the same day. When you’re self-employed, they throw your invoices into a big furnace and gleefully watch them burn.
What was the last film you paid to see at the cinema?
30 Days Of Night, which I was very excited about and turned out to be awful.
Would you like to work in TV, commercials or music videos?
Yes, yes and yes.
What’s your favourite part of the job - what makes it all worthwhile?
I love all of it. The struggle is to stay sane while you’re not doing it. I was nervous about writing as it is so solitary but I love that too. Maybe, though, just maybe the experience that nudges ahead of all others is shooting itself. Some people find it boring apparently which I don’t understand at all. The film set is the closest thing to heaven on this earth.
Who’s your favourite director?
Impossible to select one. I tend to have crazes on people. I’m just coming out of a Dario Argento obsession and going back to early Spielberg, which is unadulterated genius.
What’s next?
There’s a few things hovering, but my absolute priority is to make a film next year. I love this life but the only way is forward, whatever it takes.
And finally… what film that would you like to remake, and what would you do to give it a modern update?
I’d like to do Rio Bravo, but in a really violent, authentic way. To dig deep into the world and extract as much detail as possible to make it feel real. The West is like science fiction these days it’s so alien to us, and that’s very exciting as you can go into the world and build it from scratch, creating something that people won’t have seen before. Then I’d make the bad guys very scary, like the Terminator or something, endow them with a sense of the unstoppable. All building towards this massive, biblical showdown between the sheriff and the outlaws.
And I think I’d want to kill the sheriff, because sacrifice is the only real way to complete a character like that these days. And once I’d done that, I’d remake Wuthering Heights. It’s by far the greatest novel of Romanticism. In my experience love is much more of a Heathcliff-Cathy thing than it is Lizzie-Darcy. But I’d want to do it as brutally as it’s presented in the book. In a way it’s the first real horror novel, paving the way for everyone that was to follow. It’s just the most amazing story and the payoff is devastating – this man, who has been destroyed by the love of his life, comes back to wreak revenge on her family – but then at the end you realise that all he has ever wanted is to be with her again, and so he gets his wish but in the most dreadful, terrifying way. It’s just incredible, infused with dread and suffering and this epic, devastating love. Is it modern? I don’t know the answer to that, but I do know that film makers like Joe Wright are showing that period films are as valid as contemporary.
In Wuthering Heights you’ve again got this kind of science fiction world of stranded people in this vicious landscape. It’s completely contained and everything – even the weather – is at the mercy of the story. I think being relevant is one of the more irrelevant things to worry about when you’re making films. It only matters if it affects you personally – you just have to take a chance. It’s all risk in the end. Look at all those Iraq war movies that are tanking at the box office – nothing is more relevant than them, but no one’s interested. We’re after something that transcends our existence, not something that merely documents it. A story like Wuthering Heights has already survived two hundred years of fashion, and I’ve got a feeling it will survive another two hundred. Imagine making a film that even got close to that…
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Thanks Justin! Great stuff.
Jumat, 07 Desember 2007
Screenwriter Peter Straughan
Just a quickie for the weekend: something you might be interested in if you're free on Monday night and live in London, Brighton or the South East.
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Talent Focus: Peter Straughan at Brighton's Lighthouse
"Recently named by Variety as one of 10 screenwriters to watch (the only Brit in the pack), Peter Straughan’s star is rapidly rising, with offers flooding in from Hollywood. Currently in the pipeline is a project with George Clooney - OUR BRAND IS CRISIS - an adaptation of a documentary about U.S. campaigning tactics for a Bolivian election.
Regarded as a bold, inventive and versatile writer, Peter has worked across many mediums including radio, theatre, television, novels, short stories and most recently, film. With two screenplays produced so far, SIXTY SIX and MRS RATCLIFFE’S REVOLUTION, his adaptation of Toby Young’s memoir, HOW TO LOSE FRIENDS AND ALIENATE PEOPLE is set for release in 2008.
With his reputation as a screenwriter fast racking up an impressive number of collaborations with some of film’s biggest names, Variety recently described Straughan as “just about the most in-demand Brit scribe out there.”
Hear Peter in conversation with Dan MacRae (Optimum Releasing), discussing his career to date, plans for the future, and the trials and tribulations of being one of the UK’s most sought after screenwriters.
We will also be screening an exclusive teaser trailer of HOW TO LOSE FRIENDS AND ALIENATE PEOPLE.
To book tickets, please call 01273 647197 or for enquiries please email: info @ lighthouse.org.uk
Monday 10th December
7.00pm: Doors and Bar
7.30pm: Event Start
Venue: Lighthouse, 28 Kensington Street, Brighton BN1 4AJ
Entry: £5/£4 concs"
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And if anyone does go, be sure to blog or tell us about it.
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Talent Focus: Peter Straughan at Brighton's Lighthouse
"Recently named by Variety as one of 10 screenwriters to watch (the only Brit in the pack), Peter Straughan’s star is rapidly rising, with offers flooding in from Hollywood. Currently in the pipeline is a project with George Clooney - OUR BRAND IS CRISIS - an adaptation of a documentary about U.S. campaigning tactics for a Bolivian election.
Regarded as a bold, inventive and versatile writer, Peter has worked across many mediums including radio, theatre, television, novels, short stories and most recently, film. With two screenplays produced so far, SIXTY SIX and MRS RATCLIFFE’S REVOLUTION, his adaptation of Toby Young’s memoir, HOW TO LOSE FRIENDS AND ALIENATE PEOPLE is set for release in 2008.
With his reputation as a screenwriter fast racking up an impressive number of collaborations with some of film’s biggest names, Variety recently described Straughan as “just about the most in-demand Brit scribe out there.”
Hear Peter in conversation with Dan MacRae (Optimum Releasing), discussing his career to date, plans for the future, and the trials and tribulations of being one of the UK’s most sought after screenwriters.
We will also be screening an exclusive teaser trailer of HOW TO LOSE FRIENDS AND ALIENATE PEOPLE.
To book tickets, please call 01273 647197 or for enquiries please email: info @ lighthouse.org.uk
Monday 10th December
7.00pm: Doors and Bar
7.30pm: Event Start
Venue: Lighthouse, 28 Kensington Street, Brighton BN1 4AJ
Entry: £5/£4 concs"
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And if anyone does go, be sure to blog or tell us about it.
Selasa, 04 Desember 2007
Story Vault: Script Reading Commandments
Bit flat out between now and the New Year, what with Red Planet (next announcement will be after Christmas) and doing current work while trying to generate the right momentum and opportunities for the start of 2008.
So, a post from the vault: a list of 'script reading commandments'. Useful stuff to bear in mind if you're a working reader, an interesting peek into the reader's world for everyone else. See you at the Raindance course on Saturday, if you're going.
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1. Thou Shalt Read The Script in Its Entirety
When you’re reading a poor script, your mind will naturally wander and your attention will stray so try to stay focused as you don’t want to miss any important plot detail that will impede your ability to write up a good synopsis later.
2. Pitch it, Baby
Writing a good logline will tell you, and the exec, whether the script is actually a film or not. Trying to sum up the script you’ve just read in one or two sentences can sometimes take longer than any other part of the report, but it’s worth it.
A broad sweep of the premise and the story is more suitable than a basic description of the concept. The following (flexible) template works particularly well in getting all you need to get across: “It’s about A CHARACTER who WANTS SOMETHING/HAS A GOAL but CONFLICT and WHAT HE DOES TO OVERCOME CONFLICT.”
3. Thou Shalt Write a Good Synopsis
Your synopsis may contain more narrative flair than the script itself but hey, you’re a writer too, so be respectful to the plot (no matter how poor) and don't describe the script ‘beat by beat’. Avoid long sentences. This will be hugely appreciated by the execs, as they’re always looking for concise, clear and well-written reports, especially the synopses. It makes their job so much easier. You might make the story sound good but you can always rip it to pieces later in the ‘comments’ section.
4. Be Harsh, but Fair; Be Cruel, but Kind
Scathing criticism has become a trademark style for readers everywhere but it’s important to stay objective and not just trash a script because you feel like it. If something is terrible, you have to give sound reasoning as to why it’s so bad, and offer valid critical comment on the style and detail of the script.
Even the most turgid of screenplays will have some merit, somewhere, so offer a few positive comments, if you can, as it will help the exec be kinder in his rejection letter. Also, the recommendations break down into “Pass”, “Consider” or “Recommend”. There is no “Pass/Consider”. This drives execs nuts. Make up your mind, be decisive.
5. It’s Not About ‘You’
There is no ‘I’ in ‘Reader’ so avoid phrases like: “I don’t think this works” or “I laughed out loud” because the coverage shouldn’t bring attention to the reader, it should be wholly focused on the script. Your comments represent what you think so there’s no need for any first person narrative. Some comments like, “in this reader’s opinion”, are okay because it helps to qualify the balance of critique being offered. Also, don’t try to be too funny, jokey, glib or dismissive. This doesn’t help anyone.
6. Thou Shalt Not Covet the Writer’s Luck
Most script readers are aspiring scriptwriters. They will burn with jealousy and rage when they read an inferior script to their own work that’s been optioned or about to be made. Get over it. You don’t have an agent. Or if you do, then why aren’t your scripts being covered by other readers around town? Or ask yourself why that particular script is getting made, despite being shite?
7. All Scripts are the Same, but Some are more Samey than Others
A lot of scripts follow the generalised style of screenwriting and so-called rules of the game. This can make them feel very ordinary and mediocre, despite one or two promising ideas or glimpses of talent from the writer. However, the never-ending pile of samey scripts will diminish your optimism about ever reading a good script again. Try to remain patient and positive. Good scripts, and good writers, are out there. They’re just hard to see in the crowd.
8. All Reports are the Same, but Don’t get Sucked into Routine
The dearth of samey scripts will have you regurgitating typical phrases and observations from report to report. You’ll develop stock-phrases and neat expressions that will lie conveniently at hand, and/or will make you look witty. You’re a writer so shake it up a bit, develop a good style, but remember ‘Commandment No. 5’.
9. Thou Shalt Not Complain
Like a pre-Jedi Luke Skywalker whingeing about buying a power converter, a novice reader will moan about the amount of scripts he has to read, and the pitiful price he’s getting for the privilege. Hey, no-one asked you to be a reader, you asked them, remember? You’re in a lucky position really, so just get on with it.
10. Never Miss a Deadline
If you accept a particularly heavy workload, then make sure you can get the reports done in time. If you accept a ‘fast turnaround’ script (overnight report), ask the exec what time, at the latest, does he need the coverage by. It’s quite common to be called up at the last minute and asked to read a 600 page book or a script in an overnight stint. You won’t want to say ‘No’ because you want to appear reliable and flexible, but if you can’t fit it in, then say so.
11. Don’t Wear Yourself Out
Everything about the movie business is turned up to eleven, and that means that your reading workload will sometimes get the better of you as the scripts pile up in your in-box. Reading two-four scripts per week should be more than manageable, especially if you have a proper full or part-time job.
As a jobbing freelancer, reading four or more scripts should be okay but if it becomes a regular fix, it might wear you out with the time and demand that the reading requires. Try to accommodate it as you see fit but remember that familiarity breeds contempt, and the quality of your coverage will suffer as you become more cynical and dismissive of every script you read.
---
So, a post from the vault: a list of 'script reading commandments'. Useful stuff to bear in mind if you're a working reader, an interesting peek into the reader's world for everyone else. See you at the Raindance course on Saturday, if you're going.
---
1. Thou Shalt Read The Script in Its Entirety
When you’re reading a poor script, your mind will naturally wander and your attention will stray so try to stay focused as you don’t want to miss any important plot detail that will impede your ability to write up a good synopsis later.
2. Pitch it, Baby
Writing a good logline will tell you, and the exec, whether the script is actually a film or not. Trying to sum up the script you’ve just read in one or two sentences can sometimes take longer than any other part of the report, but it’s worth it.
A broad sweep of the premise and the story is more suitable than a basic description of the concept. The following (flexible) template works particularly well in getting all you need to get across: “It’s about A CHARACTER who WANTS SOMETHING/HAS A GOAL but CONFLICT and WHAT HE DOES TO OVERCOME CONFLICT.”
3. Thou Shalt Write a Good Synopsis
Your synopsis may contain more narrative flair than the script itself but hey, you’re a writer too, so be respectful to the plot (no matter how poor) and don't describe the script ‘beat by beat’. Avoid long sentences. This will be hugely appreciated by the execs, as they’re always looking for concise, clear and well-written reports, especially the synopses. It makes their job so much easier. You might make the story sound good but you can always rip it to pieces later in the ‘comments’ section.
4. Be Harsh, but Fair; Be Cruel, but Kind
Scathing criticism has become a trademark style for readers everywhere but it’s important to stay objective and not just trash a script because you feel like it. If something is terrible, you have to give sound reasoning as to why it’s so bad, and offer valid critical comment on the style and detail of the script.
Even the most turgid of screenplays will have some merit, somewhere, so offer a few positive comments, if you can, as it will help the exec be kinder in his rejection letter. Also, the recommendations break down into “Pass”, “Consider” or “Recommend”. There is no “Pass/Consider”. This drives execs nuts. Make up your mind, be decisive.
5. It’s Not About ‘You’
There is no ‘I’ in ‘Reader’ so avoid phrases like: “I don’t think this works” or “I laughed out loud” because the coverage shouldn’t bring attention to the reader, it should be wholly focused on the script. Your comments represent what you think so there’s no need for any first person narrative. Some comments like, “in this reader’s opinion”, are okay because it helps to qualify the balance of critique being offered. Also, don’t try to be too funny, jokey, glib or dismissive. This doesn’t help anyone.
6. Thou Shalt Not Covet the Writer’s Luck
Most script readers are aspiring scriptwriters. They will burn with jealousy and rage when they read an inferior script to their own work that’s been optioned or about to be made. Get over it. You don’t have an agent. Or if you do, then why aren’t your scripts being covered by other readers around town? Or ask yourself why that particular script is getting made, despite being shite?
7. All Scripts are the Same, but Some are more Samey than Others
A lot of scripts follow the generalised style of screenwriting and so-called rules of the game. This can make them feel very ordinary and mediocre, despite one or two promising ideas or glimpses of talent from the writer. However, the never-ending pile of samey scripts will diminish your optimism about ever reading a good script again. Try to remain patient and positive. Good scripts, and good writers, are out there. They’re just hard to see in the crowd.
8. All Reports are the Same, but Don’t get Sucked into Routine
The dearth of samey scripts will have you regurgitating typical phrases and observations from report to report. You’ll develop stock-phrases and neat expressions that will lie conveniently at hand, and/or will make you look witty. You’re a writer so shake it up a bit, develop a good style, but remember ‘Commandment No. 5’.
9. Thou Shalt Not Complain
Like a pre-Jedi Luke Skywalker whingeing about buying a power converter, a novice reader will moan about the amount of scripts he has to read, and the pitiful price he’s getting for the privilege. Hey, no-one asked you to be a reader, you asked them, remember? You’re in a lucky position really, so just get on with it.
10. Never Miss a Deadline
If you accept a particularly heavy workload, then make sure you can get the reports done in time. If you accept a ‘fast turnaround’ script (overnight report), ask the exec what time, at the latest, does he need the coverage by. It’s quite common to be called up at the last minute and asked to read a 600 page book or a script in an overnight stint. You won’t want to say ‘No’ because you want to appear reliable and flexible, but if you can’t fit it in, then say so.
11. Don’t Wear Yourself Out
Everything about the movie business is turned up to eleven, and that means that your reading workload will sometimes get the better of you as the scripts pile up in your in-box. Reading two-four scripts per week should be more than manageable, especially if you have a proper full or part-time job.
As a jobbing freelancer, reading four or more scripts should be okay but if it becomes a regular fix, it might wear you out with the time and demand that the reading requires. Try to accommodate it as you see fit but remember that familiarity breeds contempt, and the quality of your coverage will suffer as you become more cynical and dismissive of every script you read.
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