All stories have underlying ideas and subtexts which can be expressed in a basic form of theme. Greed. Lust. Death. Love. Power. Corruption. Revenge. Family. War. And so on. Of course, having evidence of one or more of these ideas doesn’t necessarily represent a theme in itself; how the story is resolved through character and plot reveals what you’re saying about the theme (whether you’re aware of it or not).
For example, say your story is about a man who cheats on his wife (suggesting a theme of lust/love). This could be a thriller, horror, romcom, whatever you want. Anyway, in the story, he gets away with his fling but finishes the affair, realising he’s better off with his wife. However, his wife wants a divorce, feeling that their relationship isn’t working anymore. The man tries to resume his relationship with the other woman but is turned down, and is left alone. The theme could be saying that with love, you can’t have everything your own way (but there could be a 100 bloody corpses or a comic wedding for the finale, depending on your genre).
This is a simple example, but you get the idea. People may not pick up on the theme at all, depending on how the story is delivered, and will have just enjoyed the breakdown of the man’s selfish behaviour. And that’s perfectly fine. Maybe even the writer couldn’t care less what the theme is, and is happily leaving it for others to come to their own conclusions. When people mention ‘theme’, it conjures up pseudo-intellectual posturing about deeper meaning when there may be none in the first place. This is what makes theme a difficult subject. Generally, the audience doesn’t want to be aware of it - not consciously anyway - and certainly not while they’re watching the film/TV ep.
The usual comment about theme is that it should be invisible, and this is good advice to follow. By all means, layer your characters and story with your mind-blowing notions of whatever theme you’re after, but don’t bore the audience with dialogue lectures or insignificant scenes that support the theme (and do nothing for the story). However, it’s interesting to note that one of the acclaimed films of the year gets caught up with its theme, and in my view, robs the film of its full entertainment factor. No Country for Old Men (see end of post for my spoiler explanation).
Writing for theme works in a variety of ways. One, don’t worry about it and get your first draft done, only then revising the story to add notions of theme and what you really want to say. Two, write with theme in mind (many writers stick the theme, or even one word, over their computers to remind themselves that everything must feed into that idea) and really get a hold of the resounding power of your story (get you). Three, forget all about theme. Write what you like. If you feel confident that the story delivers what you want in terms of entertainment value but you don’t have a clue what the theme is, don’t worry, someone else will come up with one for you, probably a critic (especially if the film is a hit). Loads of hit films don’t have themes but that doesn’t mean to say that they’re hollow or without merit. The slimmest suggestion of a theme could be enough. It’s a useful reference, and can certainly bolster your characters/story when you’re fully aware of it, but don’t trip yourself up trying to ensure that your script’s got a thematic argument. That way madness (and boredom) lies.
** SPOILERS for No Country for Old Men, do not read if you haven’t seen the film **
No Country for Old Men stands out as a taut and compelling cat-and-mouse thriller about opportunistic Josh Brolin as he goes on the run from assassin Javier Bardem while doleful sheriff Tommy Lee Jones ponders why the world has turned to ruin. There’s a lot to enjoy in the film - the set pieces, the acting, the direction, the pace/silent flow (it’s not a very talky piece) - and then, for the last half hour, the story completely changes direction and focuses on its theme rather than fulfilling its expectations of plot.
The result, a brilliantly flawed bit of cinema. Brilliant up until Josh gets done, seriously flawed after that. Tommy Lee Jones steps forward for the latter part to have a few great ACTING scenes and to talk about the THEME but do little to engage the viewer or explain what exactly has happened. Indeed, even the Coen brothers, in an interview with Creative Screenwriting, have indicated that they just followed the narrative thread from Cormac McCarthy’s book and don’t fully understand the story’s change of direction. Still, it’s profound, so it must be a masterpiece. Be warned, you’ll only receive that kind of recognition when you have the filmography of the Coens and the acting pedigree of Lee Jones et al in your flick first. And don't worry, I love the Coens but I was confused and dissatisfied at the end of NCFOM rather than blown away.
**
WATCH OUT: there are spoilers in the comments section as well.
Senin, 28 Januari 2008
Jumat, 25 Januari 2008
Script Websites
So, according to Anonymous (in the comments section of 'Script Register', below), InkTip is a very good website that gives aspiring screenwriters genuine opportunities (and doesn't charge a fortune for the privilege). However, reading between the lines of Anon's experience, it shows you need the same amount of diligence and talent as you do when forging contacts in the real world. I think there may be a tendency for some wannabes to look at these screenwriting sites as definite opportunities, especially after they've forked out some cash to get insider access to the site. It boils down to the same thing: you've got to be good, and your stuff needs to be thoroughly prepared and well-written. Anything else, and you're just another stat on the spec pile.
A few years ago, I signed up to Script P.I.M.P. which is described as: "a community based research tool designed for writers & film industry professionals." It's a neat site but while you do get access to production company details, it has a layered system of access where, by and large, you need to be recommended to the companies by Script P.I.M.P. itself. And the only way to get a recommendation is to submit your script for 'coverage', and, naturally, this comes with a fee attached (quite pricey, too!). Still, it does have some useful features - a Writers' Database, a Writers' Workshop and a Screenwriting Competition - but in truth, I don't use it at all.
In the UK, you have, of course, Shooting People (£30), but that's more of a filmmaking community site rather than offering a platform for various opportunities. They do have the pitching bulletin each week (anybody get anything from that?) and you can easily find crew if you don't have any contacts, and that's certainly useful. The regular bulletins are filled with news, comments and opinion, so it's a decent site if you just want to keep up-to-date with stuff, and feel part of a wider crowd who understand your pain.
Similarly, there's UK Screen (£15), Talent Circle (free) and the quite handy Mandy. I was a member of UK Screen once but like Script P.I.M.P., I've kind of forgotten about it.
Generally, these types of sites are fine for networking and getting to know the scene. Don't view them as potential short cuts to success or a back door into the industry. Use them for what they offer but the rest is down to you, your writing and your talent. Nothing else.
A few years ago, I signed up to Script P.I.M.P. which is described as: "a community based research tool designed for writers & film industry professionals." It's a neat site but while you do get access to production company details, it has a layered system of access where, by and large, you need to be recommended to the companies by Script P.I.M.P. itself. And the only way to get a recommendation is to submit your script for 'coverage', and, naturally, this comes with a fee attached (quite pricey, too!). Still, it does have some useful features - a Writers' Database, a Writers' Workshop and a Screenwriting Competition - but in truth, I don't use it at all.
In the UK, you have, of course, Shooting People (£30), but that's more of a filmmaking community site rather than offering a platform for various opportunities. They do have the pitching bulletin each week (anybody get anything from that?) and you can easily find crew if you don't have any contacts, and that's certainly useful. The regular bulletins are filled with news, comments and opinion, so it's a decent site if you just want to keep up-to-date with stuff, and feel part of a wider crowd who understand your pain.
Similarly, there's UK Screen (£15), Talent Circle (free) and the quite handy Mandy. I was a member of UK Screen once but like Script P.I.M.P., I've kind of forgotten about it.
Generally, these types of sites are fine for networking and getting to know the scene. Don't view them as potential short cuts to success or a back door into the industry. Use them for what they offer but the rest is down to you, your writing and your talent. Nothing else.
Kamis, 24 Januari 2008
Last Night
Did you see it? Good wasn't it? Funny, tense, scary, touching. Yep, Masterchef was on top form. Oh, that thing on afterwards wasn't bad either. And Reaper on E4+1 was good fun, too.
Rabu, 23 Januari 2008
Torchwood Tonight
Special shout out to our blogging homeboy James Moran (who was the first ever UK scribo-blogger, or so he claims) for his episode of Torchwood tonight, called Sleeper. Most of you won't need reminding that James wrote the hit film Severance, released last year. Since then, lots of big and exciting stuff is happening for this hugely talented and hard working fella, who's a diamond geezer to boot. Yes, yes, gush gush, but it's all true, guv, honest.
Torchwood seems to be getting its act together nicely. After a shaky start to series one, it had enough potential and promise for a second run, and last week's opener was a blast as James Marsters crashed into the lives of the Torchwood team.
If you're going to be around your telly-box at around 9pm, then flick it on to BBC2 to watch The Mighty Moran's episode unfold. And tomorrow, check out Torchwood Declassified (Thursday 24th Jan, 7.50pm, BBC2) as the behind the scenes show details how this episode is one of the most ambitious and adventurous to date: "writer James Moran explains the vision he had for this episode and how he came to write such a bold story for his first ever Torchwood script." There, it's official, James had a vision. No pressure, big boy. Go get 'em.
Torchwood seems to be getting its act together nicely. After a shaky start to series one, it had enough potential and promise for a second run, and last week's opener was a blast as James Marsters crashed into the lives of the Torchwood team.
If you're going to be around your telly-box at around 9pm, then flick it on to BBC2 to watch The Mighty Moran's episode unfold. And tomorrow, check out Torchwood Declassified (Thursday 24th Jan, 7.50pm, BBC2) as the behind the scenes show details how this episode is one of the most ambitious and adventurous to date: "writer James Moran explains the vision he had for this episode and how he came to write such a bold story for his first ever Torchwood script." There, it's official, James had a vision. No pressure, big boy. Go get 'em.
Selasa, 22 Januari 2008
Script Register
Q: I need to register my script. Who's reputable? I found the Writers' Guild of America and Writers' Federation. Which is the best? Second, I am thinking of sending a synopsis to 'Soyouwannasellascript.com'. Are they reputable or am I wasting my money?
As far as I know, the Writers' Guild of America is probably the most reliable for registering your script, and it's not that expensive at all, only 20 bucks (less after dollar to pound conversion). Haven't heard of Writer's Federation, and I can't find a corresponding website. I have heard of Soyouwannasellascript.com but I don't know much about it.
With any of these websites, tread carefully. Most are genuine opportunities to get your work seen by producers/directors/execs etc but the actual reality of making a sale of any kind is pretty slim, I'd say. So, use your own judgement. If the fee isn't too high and it looks worth a shot, then why not: get your work out there as it's so difficult to get anybody to read your stuff if you don't have an agent, and all that jazz.
The screenwriting network sites like Zoetrope and Trigger Street are free, where people read and give feedback on your script (but you have to do the same), so they might be worth a look if you're not already aware of them. InkTip is another website that's quite popular and they boast a few success stories but for me, it's a bit of a lottery, not a guarantee of anything much.
If anyone has any experience with these kind of sites - the good and the bad - let us know!
As far as I know, the Writers' Guild of America is probably the most reliable for registering your script, and it's not that expensive at all, only 20 bucks (less after dollar to pound conversion). Haven't heard of Writer's Federation, and I can't find a corresponding website. I have heard of Soyouwannasellascript.com but I don't know much about it.
With any of these websites, tread carefully. Most are genuine opportunities to get your work seen by producers/directors/execs etc but the actual reality of making a sale of any kind is pretty slim, I'd say. So, use your own judgement. If the fee isn't too high and it looks worth a shot, then why not: get your work out there as it's so difficult to get anybody to read your stuff if you don't have an agent, and all that jazz.
The screenwriting network sites like Zoetrope and Trigger Street are free, where people read and give feedback on your script (but you have to do the same), so they might be worth a look if you're not already aware of them. InkTip is another website that's quite popular and they boast a few success stories but for me, it's a bit of a lottery, not a guarantee of anything much.
If anyone has any experience with these kind of sites - the good and the bad - let us know!
Jumat, 18 Januari 2008
High Tide Festival
Last spring, the High Tide Festival premiered in Halesworth, Suffolk, mainly to showcase original and new work from emerging theatre writers and directors. However, the festival was a huge success, welcoming around 3,000 visitors and presenting workshops/talks with people like Richard Eyre, Max Stafford Clark and Joe Penhall, amongst others (including Sinead Cusack, Jeremy Irons, Tom Stoppard, Rufus Sewell, Jonathan Price, Richard Curtis, Steven Berkoff, Emma Freud, Bill Nighy, Diana Quick, Sir David Hare and Sir John Mortimer).
So, for their second year, High Tide is launching a film festival to run alongside the theatre events. They are looking for the best of the country's short films to programme across the festival weekend: "As with theatre, the long-term aim of the film festival is to support and develop the best of the UK's emerging writers and directors, to encourage artistic collaborations and original new work, and at the same time bring new films to Suffolk and Norfolk audiences. To run alongside the film screenings we are planning talks, events and filmmaker-only workshops with leading industry figures."
The whole shebang is taking place from the 2nd to the 5th of May 2008, and they are inviting filmmakers from Britain and the Republic of Ireland to submit their short films for participation in the festival. The deadline for submissions is Monday 4th February. Films may be any genre and of any length, up to a maximum duration of 20 minutes. Further information regarding the festival and film submission details, including an application form, can be found on the website.
Looks interesting! Let us know if you give it a whirl, or indeed, maybe see you there...
So, for their second year, High Tide is launching a film festival to run alongside the theatre events. They are looking for the best of the country's short films to programme across the festival weekend: "As with theatre, the long-term aim of the film festival is to support and develop the best of the UK's emerging writers and directors, to encourage artistic collaborations and original new work, and at the same time bring new films to Suffolk and Norfolk audiences. To run alongside the film screenings we are planning talks, events and filmmaker-only workshops with leading industry figures."
The whole shebang is taking place from the 2nd to the 5th of May 2008, and they are inviting filmmakers from Britain and the Republic of Ireland to submit their short films for participation in the festival. The deadline for submissions is Monday 4th February. Films may be any genre and of any length, up to a maximum duration of 20 minutes. Further information regarding the festival and film submission details, including an application form, can be found on the website.
Looks interesting! Let us know if you give it a whirl, or indeed, maybe see you there...
Rabu, 16 Januari 2008
Bafta Nominations, 2008
Here's the full list of this year's Bafta nominations. No real surprises here, and really pleased to see Control get due consideration, especially writer Matt Greenhalgh (fantastic job, sir. My fave film of last year, hands down).
---
Best Film
American Gangster
Atonement
The Lives of Others
No Country Old Men
There Will Be Blood
Best British Film
Atonement
The Bourne Ultimatum
Scott
Control
Eastern Promises
This Is England
Leading Actor
George Clooney - Michael Clayton
Daniel Day-Lewis - There Will Be Blood
James McAvoy - Atonement
Viggo Mortensen - Eastern Promises
Ulrich Muehe - The Lives of Others
Leading Actress
Cate Blanchett - Elizabeth: The Golden Age
Julie Christie - Away From Her
Marion Cotillard - La Vie En Rose
Keira Knightley - Atonement
Ellen Page - Juno
Supporting Actor
Javier Bardem - No Country for Old Men
Paul Dano - There Will Be Blood
Tommy Lee Jones - No Country for Old Men
Philip Seymour Hoffman - Charlie Wilson's War
Tom Wilkinson - Michael Clayton
Supporting Actress
Cate Blanchett - I'm Not There
Kelly Macdonald - No Country for Old Men
Samantha Morton - Control
Saoirse Ronan - Atonement
Tilda Swinton - Michael Clayton
Director
Atonement - Joe Wright
The Bourne Ultimatum - Paul Greengrass
The Lives of Others - Florian Henckel von Donnersmarck
No Country For Old Men - Joel Coen/Ethan Coen
There Will Be Blood - Paul Thomas Anderson
Original Screenplay
American Gangster - Steven Zaillian
Juno - Diablo Cody
The Lives of Others - Florian Henckel von Donnersmarck
Michael Clayton - Tony Gilroy
This is England - Shane Meadows
Adapted Screenplay
Atonement - Christopher Hampton
The Diving Bell and the Butterfly - Ronald Harwood
The Kite Runner - David Benioff
No Country for Old Men - Joel Coen/Ethan Coen
There Will Be Blood - Paul Thomas Anderson
Film not in the English language
The Diving Bell and the Butterfly
The Kite Runner
The Lives of Others
Lust, Caution
La Vie En Rose
Animated Film
Ratatouille
Shrek the Third
The Simpsons Movie
The Carl Foreman award for Special Achievement by a British Director, Writer or Producer for their first feature film
Chris Atkins (director/writer) - Taking Liberties
Mia Bays (producer) - Scott Walker: 30 Century Man
Sarah Gavron (director) - Brick Lane
Matt Greenhalgh (writer) - Control
Andrew Piddington (director/writer) - The Killing of John Lennon
Music
American Gangster - Marc Streitenfeld
Atonement - Dario Marianelli
The Kite Runner - Alberto Iglesias
There Will Be Blood - Jonny Greenwood
La Vie En Rose - Christopher Gunning
Cinematography
American gangster - Harris Savides
Atonement - Seamus McGarvey
The Bourne Ultimatum - Oliver Wood
No Country For Old Men - Roger Deakins
There Will Be Blood - Robert Elswit
Editing
American Gangster - Pietro Scalia
Atonement - Paul Tothill
The Bourne Ultimatum - Christopher Rouse
Michael Clayton - John Gilroy
No Country For Old Men - Roderick Jaynes
Production Design
Atonement - Sarah Greenwood, Katie Spencer
Elizabeth: The Golden Age - Guy Hendrix Dyas, Richard Roberts
Harry Potter And The Order Of The Phoenix - Stuart Craig, Stephanie McMillan
There Will Be Blood - Jack Fisk, Jim Erickson
La Vie En Rose - Olivier Raoux
Costume Design
Atonement - Jacqueline Durran
Elizabeth: The Golden Age - Alexandra Byrne
Lust, Caution - Pan Lai
Sweeney Todd: The Demon Barber of Fleet Street - Colleen Atwood
La Vie En Rose - Marit Allen
Sound
Atonement - Danny Hambrook, Paul Hamblin, Catherine Hodgson
The Bourne Ultimatum - Kirk Francis, Scott Millan, Dave Parke, Karen Baker Landers, Per Hallberg
No Country For Old Men - Peter Kurland, Skip Lievsay, Craig Berkey, Greg Orloff
There Will Be Blood - Christopher Scarabosio, Matthew Wood, John Pritchett, Michael Semanick, Tom Johnson
La Vie En Rose - Laurent Zeilig, Pascal Villard, Jean-Paul Hurier, Marc Doisne
Special Visual Effects
The Bourne Ultimatum - Peter Chiang, Charlie Noble, Mattias Lindahl, Joss Williams
The Golden Compass - Michael Fink, Bill Westenhofer, Ben Morris, Trevor Woods
Harry Potter and the Order of the Phoenix - Tim Burke, John Richardson, Emma Norton, Chris Shaw
Pirates Of The Caribbean: At World's End - John Knoll, Charles Gibson, Hal Hickel, John Frazier
Spider-Man 3 - Scott Stokdyk, Peter Nofz, Kee-Suk Ken Hahn, Spencer Cook
Make-up and Hair
Atonement - Ivana Primorac
Elizabeth: The Golden Age - Jenny Shircore
Hairspray - nominees to be confirmed
Sweeney Todd: The Demon Barber of Fleet Street - Ivana Primorac
La Vie En Rose - Jan Archibald, Didier Lavergne
Short Animation
The Pearce Sisters - Jo Allen, Luis Cook
Head Over Heels - Osbert Parker, Fiona Pitkin, Ian Gouldstone
The Crumblegiant - Pearse Moore, John McCloskey
Short Film
Dog Altogether - Diarmid Scrimshaw, Paddy Considine
Hesitation - Julien Berlan, Michelle Eastwood, Virginia Gilbert
The One And Only Herb McGwyer Plays Wallis Island - Charlie Henderson, James Griffiths, Tim Key, Tom Basden
Soft - Jane Hooks, Simon Ellis
The Stronger - Dan McCulloch, Lia Williams, Frank McGuinness
The Orange Rising Star Award (voted for by the public)
Shia LaBeouf
Sienna Miller
Ellen Page
Sam Riley
Tang Wei
---
Best Film
American Gangster
Atonement
The Lives of Others
No Country Old Men
There Will Be Blood
Best British Film
Atonement
The Bourne Ultimatum
Scott
Control
Eastern Promises
This Is England
Leading Actor
George Clooney - Michael Clayton
Daniel Day-Lewis - There Will Be Blood
James McAvoy - Atonement
Viggo Mortensen - Eastern Promises
Ulrich Muehe - The Lives of Others
Leading Actress
Cate Blanchett - Elizabeth: The Golden Age
Julie Christie - Away From Her
Marion Cotillard - La Vie En Rose
Keira Knightley - Atonement
Ellen Page - Juno
Supporting Actor
Javier Bardem - No Country for Old Men
Paul Dano - There Will Be Blood
Tommy Lee Jones - No Country for Old Men
Philip Seymour Hoffman - Charlie Wilson's War
Tom Wilkinson - Michael Clayton
Supporting Actress
Cate Blanchett - I'm Not There
Kelly Macdonald - No Country for Old Men
Samantha Morton - Control
Saoirse Ronan - Atonement
Tilda Swinton - Michael Clayton
Director
Atonement - Joe Wright
The Bourne Ultimatum - Paul Greengrass
The Lives of Others - Florian Henckel von Donnersmarck
No Country For Old Men - Joel Coen/Ethan Coen
There Will Be Blood - Paul Thomas Anderson
Original Screenplay
American Gangster - Steven Zaillian
Juno - Diablo Cody
The Lives of Others - Florian Henckel von Donnersmarck
Michael Clayton - Tony Gilroy
This is England - Shane Meadows
Adapted Screenplay
Atonement - Christopher Hampton
The Diving Bell and the Butterfly - Ronald Harwood
The Kite Runner - David Benioff
No Country for Old Men - Joel Coen/Ethan Coen
There Will Be Blood - Paul Thomas Anderson
Film not in the English language
The Diving Bell and the Butterfly
The Kite Runner
The Lives of Others
Lust, Caution
La Vie En Rose
Animated Film
Ratatouille
Shrek the Third
The Simpsons Movie
The Carl Foreman award for Special Achievement by a British Director, Writer or Producer for their first feature film
Chris Atkins (director/writer) - Taking Liberties
Mia Bays (producer) - Scott Walker: 30 Century Man
Sarah Gavron (director) - Brick Lane
Matt Greenhalgh (writer) - Control
Andrew Piddington (director/writer) - The Killing of John Lennon
Music
American Gangster - Marc Streitenfeld
Atonement - Dario Marianelli
The Kite Runner - Alberto Iglesias
There Will Be Blood - Jonny Greenwood
La Vie En Rose - Christopher Gunning
Cinematography
American gangster - Harris Savides
Atonement - Seamus McGarvey
The Bourne Ultimatum - Oliver Wood
No Country For Old Men - Roger Deakins
There Will Be Blood - Robert Elswit
Editing
American Gangster - Pietro Scalia
Atonement - Paul Tothill
The Bourne Ultimatum - Christopher Rouse
Michael Clayton - John Gilroy
No Country For Old Men - Roderick Jaynes
Production Design
Atonement - Sarah Greenwood, Katie Spencer
Elizabeth: The Golden Age - Guy Hendrix Dyas, Richard Roberts
Harry Potter And The Order Of The Phoenix - Stuart Craig, Stephanie McMillan
There Will Be Blood - Jack Fisk, Jim Erickson
La Vie En Rose - Olivier Raoux
Costume Design
Atonement - Jacqueline Durran
Elizabeth: The Golden Age - Alexandra Byrne
Lust, Caution - Pan Lai
Sweeney Todd: The Demon Barber of Fleet Street - Colleen Atwood
La Vie En Rose - Marit Allen
Sound
Atonement - Danny Hambrook, Paul Hamblin, Catherine Hodgson
The Bourne Ultimatum - Kirk Francis, Scott Millan, Dave Parke, Karen Baker Landers, Per Hallberg
No Country For Old Men - Peter Kurland, Skip Lievsay, Craig Berkey, Greg Orloff
There Will Be Blood - Christopher Scarabosio, Matthew Wood, John Pritchett, Michael Semanick, Tom Johnson
La Vie En Rose - Laurent Zeilig, Pascal Villard, Jean-Paul Hurier, Marc Doisne
Special Visual Effects
The Bourne Ultimatum - Peter Chiang, Charlie Noble, Mattias Lindahl, Joss Williams
The Golden Compass - Michael Fink, Bill Westenhofer, Ben Morris, Trevor Woods
Harry Potter and the Order of the Phoenix - Tim Burke, John Richardson, Emma Norton, Chris Shaw
Pirates Of The Caribbean: At World's End - John Knoll, Charles Gibson, Hal Hickel, John Frazier
Spider-Man 3 - Scott Stokdyk, Peter Nofz, Kee-Suk Ken Hahn, Spencer Cook
Make-up and Hair
Atonement - Ivana Primorac
Elizabeth: The Golden Age - Jenny Shircore
Hairspray - nominees to be confirmed
Sweeney Todd: The Demon Barber of Fleet Street - Ivana Primorac
La Vie En Rose - Jan Archibald, Didier Lavergne
Short Animation
The Pearce Sisters - Jo Allen, Luis Cook
Head Over Heels - Osbert Parker, Fiona Pitkin, Ian Gouldstone
The Crumblegiant - Pearse Moore, John McCloskey
Short Film
Dog Altogether - Diarmid Scrimshaw, Paddy Considine
Hesitation - Julien Berlan, Michelle Eastwood, Virginia Gilbert
The One And Only Herb McGwyer Plays Wallis Island - Charlie Henderson, James Griffiths, Tim Key, Tom Basden
Soft - Jane Hooks, Simon Ellis
The Stronger - Dan McCulloch, Lia Williams, Frank McGuinness
The Orange Rising Star Award (voted for by the public)
Shia LaBeouf
Sienna Miller
Ellen Page
Sam Riley
Tang Wei
Senin, 14 Januari 2008
Spinning Plates
On my computer, in my 'Script' folder, all my current writing projects reside. The list runs up to fifteen. Some of these are dwindling with their development or momentum, and unless a commission or script sale occurs, they will inevitably find their way to my 'Inactive Projects' folder. At the moment, this list contains twenty five scripts or would-be scripts, with a roughly equal number of individual documents (ideas/one pagers etc) lying around with no specific home. The projects elicit contrasting emotions as I casually give them a glance: “that’s good, a shame that didn’t work out”, “what was I thinking?” “eugh, horrible”, “I should re-visit that one”.
As a freelance writer, it’s important to have as many projects on the go as is humanly possible. One or two projects isn’t really going to cut it, or earn you a living. I’m including any TV writing gigs you may have, as there’s no guarantee of rolling commissions (unless it’s in your contract or you’ve been allocated a chunk of episodes). When a producer expresses interest in one of your projects, and may even moot an option deal/payment, it’s easy to get distracted with that attention and expect something to happen. More often than not, nothing will, and you’re left scrapping around trying to generate another opportunity.
Six to one (6/1). That’s roughly (my guess) at the odds you face when generating income out of your original projects. So, that’s six projects to originate, develop and hopefully get producers/production companies interested enough to pay you some wedge. You’ll get meetings, and be drawn into a development dance that precludes you from getting paid until the Big Boss finally gives the ‘yay’ or ‘nay’. And all the while, you’ll think: “something’s gotta stick, surely”. And then you’ll panic: “what if two or more kick off at the same time? It’ll be too much, I won’t cope!” And then all six projects get shot down for one reason or another. Square one. Looking at a blank slate; scouring through your ‘active’ and ‘inactive’ projects trying to see what might be presentable/salvageable for the next run of plate spinning.
Current outlook: cautiously optimistic. Five projects on the go that may, or may not, come good and shape up the year with kick-ass intent. 'Waiting to hear' is a phrase that promises much but often delivers little. Experience has taught me not to rest on my laurels and physically wait for a response on each of the projects so I gotta keep generating ideas, stay focused and most importantly, keep writing. That's the only way it's done.
As a freelance writer, it’s important to have as many projects on the go as is humanly possible. One or two projects isn’t really going to cut it, or earn you a living. I’m including any TV writing gigs you may have, as there’s no guarantee of rolling commissions (unless it’s in your contract or you’ve been allocated a chunk of episodes). When a producer expresses interest in one of your projects, and may even moot an option deal/payment, it’s easy to get distracted with that attention and expect something to happen. More often than not, nothing will, and you’re left scrapping around trying to generate another opportunity.
Six to one (6/1). That’s roughly (my guess) at the odds you face when generating income out of your original projects. So, that’s six projects to originate, develop and hopefully get producers/production companies interested enough to pay you some wedge. You’ll get meetings, and be drawn into a development dance that precludes you from getting paid until the Big Boss finally gives the ‘yay’ or ‘nay’. And all the while, you’ll think: “something’s gotta stick, surely”. And then you’ll panic: “what if two or more kick off at the same time? It’ll be too much, I won’t cope!” And then all six projects get shot down for one reason or another. Square one. Looking at a blank slate; scouring through your ‘active’ and ‘inactive’ projects trying to see what might be presentable/salvageable for the next run of plate spinning.
Current outlook: cautiously optimistic. Five projects on the go that may, or may not, come good and shape up the year with kick-ass intent. 'Waiting to hear' is a phrase that promises much but often delivers little. Experience has taught me not to rest on my laurels and physically wait for a response on each of the projects so I gotta keep generating ideas, stay focused and most importantly, keep writing. That's the only way it's done.
Senin, 07 Januari 2008
Working Title's Action Scheme
Fancy being an intern in the UK's top production studio? Then mosey on over to Working Title's website and check out their 'Action' scheme, now in its fifth year. They will choose three candidates to work over the following placements:
Two interns to work with the development and production teams.
One intern to perform a more general office/production role across key departments.
Applications accepted between now and 22nd Feb, 2008. All the details are on the website, so: read, absorb, apply.
Good luck!
Two interns to work with the development and production teams.
One intern to perform a more general office/production role across key departments.
Applications accepted between now and 22nd Feb, 2008. All the details are on the website, so: read, absorb, apply.
Good luck!
Kamis, 03 Januari 2008
Story Vault: Which Way to Go?
As I blearily find my way into the New Year schedule, here's a post from this time last year about starting ideas/scripts but then having bouts of uncertainty, and wondering what to do. I was going to update it so as not to be too lazy but its basic sentiments still ring true...oh okay, I'm being a bit lazy but hey, I've got a 2nd draft of a commissioned ep to finish off, so that's where I'll be.
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Which Way to Go?
At the early stages of concept and development for any story, all writers go through a series of doubts, queries and choices. In plot or summary form, the writer may not be wholly convinced that the story is taking its best shape, or whether the characters are working to their full effect, or if the pace and structure is smooth and efficient. Often, it is difficult to see the woods from the trees as the writer feels too 'close' to the whole affair and doubts if the story possesses enough positive qualities to take it through to script stage.
To avoid this uncertainty, sometimes it's worth going to first draft script immediately. It's easier to see the flaws and weaker areas of a story when it's down in script format, as opposed to having it laid out in a detailed outline/plot. Avoiding the tough demands of trying to figure out what's working, and what's needed, and what's not, is a natural impulse in the storytelling process. However, a basic passion about the concept and characters should be enough to convince the writer that the story is worth telling, and that while it may be hard work to get the story into shape, it's going to be worth it in the end.
So, here are a few questions that might help in getting over any potential writer's block: what was it about the concept that got you excited about the project in the first place? Is it a story you're burning to tell? Do the characters have an emotional and credible weight which makes you care passionately about them? In other words, do I respect them? Or is it more about plot - action/adventure/comedy etc?
Once you know the basic reasons why you want to tell the story, writing the outline or script becomes a somewhat easier task because instead of veering off into tangents about character and plot, you can continuously remind yourself WHY you're writing this story, and keep focused on what MUST happen (i.e. the plot elements that excite and interest you most, whether it's a character twist, an emotional journey or a big explosion).
Stick to your guns, so to speak. Knowledge is power, and while nagging doubt is part and parcel of the writer's process, it can easily be hurdled with a determined focus about the concept, characters and plot. This doesn't mean that you know the story inside-out; far from it, the characters and story may surprise you as you scribble it all down (a character may do something unexpected, leading you to a more exciting area of plot etc).
The point is not to get bogged down with the worry that the story's not worth it, or feeling insecure about the story's true value before you proceed. Remember the passion and excitement that got you this far, and hold on to that as you battle through the tough creative decisions that need to be made. Script readers and editors will have an opinion, and offer their advice, but they don't have all (or any) of the answers. It's all down to you.
Whether you're prepared to see the story right through to the end, or if you discover that the project's not got enough legs or merit for what you imagined, then it's all part of the writing procedure. Ideas come and go, stories last forever. Find the basic building blocks of your story (e.g. concept and characters) and go with your instinct. Entertain yourself. Let the characters surprise you but most of all, enjoy it.
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Which Way to Go?
At the early stages of concept and development for any story, all writers go through a series of doubts, queries and choices. In plot or summary form, the writer may not be wholly convinced that the story is taking its best shape, or whether the characters are working to their full effect, or if the pace and structure is smooth and efficient. Often, it is difficult to see the woods from the trees as the writer feels too 'close' to the whole affair and doubts if the story possesses enough positive qualities to take it through to script stage.
To avoid this uncertainty, sometimes it's worth going to first draft script immediately. It's easier to see the flaws and weaker areas of a story when it's down in script format, as opposed to having it laid out in a detailed outline/plot. Avoiding the tough demands of trying to figure out what's working, and what's needed, and what's not, is a natural impulse in the storytelling process. However, a basic passion about the concept and characters should be enough to convince the writer that the story is worth telling, and that while it may be hard work to get the story into shape, it's going to be worth it in the end.
So, here are a few questions that might help in getting over any potential writer's block: what was it about the concept that got you excited about the project in the first place? Is it a story you're burning to tell? Do the characters have an emotional and credible weight which makes you care passionately about them? In other words, do I respect them? Or is it more about plot - action/adventure/comedy etc?
Once you know the basic reasons why you want to tell the story, writing the outline or script becomes a somewhat easier task because instead of veering off into tangents about character and plot, you can continuously remind yourself WHY you're writing this story, and keep focused on what MUST happen (i.e. the plot elements that excite and interest you most, whether it's a character twist, an emotional journey or a big explosion).
Stick to your guns, so to speak. Knowledge is power, and while nagging doubt is part and parcel of the writer's process, it can easily be hurdled with a determined focus about the concept, characters and plot. This doesn't mean that you know the story inside-out; far from it, the characters and story may surprise you as you scribble it all down (a character may do something unexpected, leading you to a more exciting area of plot etc).
The point is not to get bogged down with the worry that the story's not worth it, or feeling insecure about the story's true value before you proceed. Remember the passion and excitement that got you this far, and hold on to that as you battle through the tough creative decisions that need to be made. Script readers and editors will have an opinion, and offer their advice, but they don't have all (or any) of the answers. It's all down to you.
Whether you're prepared to see the story right through to the end, or if you discover that the project's not got enough legs or merit for what you imagined, then it's all part of the writing procedure. Ideas come and go, stories last forever. Find the basic building blocks of your story (e.g. concept and characters) and go with your instinct. Entertain yourself. Let the characters surprise you but most of all, enjoy it.
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