** UPDATE ** There's now a Facebook page for the film, so if you want to keep up-to-date with photos, festival news etc, then please head on over and LIKE.
Here's a quick trailer for After School Club, a short film I recently directed. It's written by Nell Denton (the script was a winner at last year's Southern Script Fest) and produced by Dan Pringle at White Lantern Films. It was a lot of fun to shoot, and we're hoping it will have a decent run on the festival circuit, and beyond!
The film stars Sarah Collinge and Tracie Redding as two hard-working mums who escape to the woods and stage a playful stand-off to liven up their domestic lives.
DOP: Elliott Trent
Music: Alex Harwood
Exec Producer: Adam Merrifield
Senin, 30 Juli 2012
Sabtu, 28 Juli 2012
Cara Memperbaiki "Error Creating EVR Custom Render" Pada MPC
Mohon maaf apabila yang membaca posting ini. Admin Yasir sedang mengalami masalah sehingga dia tidak bisa blogging untuk 4 - 6 bulan kedepan. -Teman Admin-
Media Player Classic (MPC) merupakan salah satu media player yang saya gemari. Karena simpel, kualitas gambar dan suara yang di hasilkan juga bagus. Berhubung MPC uda keluar versi terbarunya, saya mendownload K-Lite
Media Player Classic (MPC) merupakan salah satu media player yang saya gemari. Karena simpel, kualitas gambar dan suara yang di hasilkan juga bagus. Berhubung MPC uda keluar versi terbarunya, saya mendownload K-Lite
Jumat, 27 Juli 2012
The Man Inside
If you find yourself at a loose end this weekend, or not really bothered about the Olympics, then do try to seek out Dan Turner's third feature film, The Man Inside.
It's an urban thriller about a young boxer trying to distance himself from his father's violent past. It stars Bashy (in a brilliant performance), Michelle Ryan, Peter Mullan, and David Harewood.
I was lucky enough to work with Dan on the early drafts of the script (see what he has to say about the development process here). My name pops up in the credits as development script editor, with the one and only Jason Arnopp taking up the baton as the film's script editor. Sweet!
The film has a limited release across the country but Dan's got a full list of the cinemas where it's playing.
It's been getting good reviews, too, most notably from Peter Bradshaw in The Guardian, and Den Of Geek. Niiice.
It's an urban thriller about a young boxer trying to distance himself from his father's violent past. It stars Bashy (in a brilliant performance), Michelle Ryan, Peter Mullan, and David Harewood.
I was lucky enough to work with Dan on the early drafts of the script (see what he has to say about the development process here). My name pops up in the credits as development script editor, with the one and only Jason Arnopp taking up the baton as the film's script editor. Sweet!
The film has a limited release across the country but Dan's got a full list of the cinemas where it's playing.
It's been getting good reviews, too, most notably from Peter Bradshaw in The Guardian, and Den Of Geek. Niiice.
Senin, 23 Juli 2012
UK Scriptwriters Podcast: Marketing a Spec Script
It's the podcast's 2nd anniversary (two years already!), and we recorded a whopping 90 minute special with Melissa Hermanny who interviewed us for her MA. However, we've broken the podcast down into normal 30min chunks, so here's the first part, where we discuss how to market a spec script. Click the embed below to play/listen, or subscribe via iTunes or the host site.
Email us with any feedback or suggestions.
Or post feedback/promote your work on our Facebook page.
Or you can find us on Twitter.
Email us with any feedback or suggestions.
Or post feedback/promote your work on our Facebook page.
Or you can find us on Twitter.
Rabu, 18 Juli 2012
Mid-2012: Would Your Decision to Buy or Sell Real Estate Change If You Believe Prices May Not Recover In Your Lifetime? - Video
If housing's not going to recover any time soon, and is likely to keep struggling, is now a good time to sell? And if interest rates keep hitting new historic lows, is now a good time to buy?
The latest mid-year Charlottesville data indicates that home sales are up in 2012 over 2011: see Nest Realty and the CAAR report. While that's progress, consider the historic numbers for context: 2011
The latest mid-year Charlottesville data indicates that home sales are up in 2012 over 2011: see Nest Realty and the CAAR report. While that's progress, consider the historic numbers for context: 2011
Senin, 16 Juli 2012
Writing for Kids' TV
It’s odd that the genre of kids’ TV is often overlooked by screenwriting events, seminars and the so-called gurus. It’s also rare to meet a writer who aspires to write for kids’ TV.
Why is this the case? Perhaps it’s because kids’ TV is for, well, kids. And maybe there’s a misplaced notion that writing for kids must be simple compared to primetime drama or feature films. Or that there’s not much kudos involved in writing for the genre.
If this is the case, then it’s an erroneous point-of-view. Writing for kids’ TV is challenging, fun, and profitable. It also requires the same amount of screenwriting skill and craft as writing any other drama. In some instances, it’s actually much harder because you’ll often be expected to write a funny script. No post-modern cultural references, intellectual quips or self-reflective wit, just make the script funny through the characters and story. No pressure.
Writing for kids is the purest form of storytelling because it’s free of ego and cynicism. Kids don’t care if you’re Russell T Davies. They only care if Russell T Davies tells them a good story. An idea that grabs. A story with a sense of urgency. Characters who we really care about. A plot with unpredictable twists and turns. Think kids aren’t sophisticated and can’t see a twist from a mile away? Think again.
Kids’ TV breaks down into a number of different categories: Drama, Factual, Animation, Light Entertainment and Pre-School. Pre-school targets 0-4 year olds; colourful worlds and characters specific to positive child development (Teletubbies, e.g.). Drama and Animation for 4-12 year olds are broken down into sub-categories of target age groups: 4-6, 6-9 and 9-12 year olds. 6-9 year olds is the sweet spot for most kids’ TV. Shows targeted for 9-12 year olds will typically be more ambitious and adventure-led, like Sarah Jane Adventures and Leonardo.
How do you get the opportunity to write for kids’ TV? Well, it’s the same process as primetime drama or feature films. You need to have written a spec script, and preferably a spec script in the kids’ TV genre. Formats for kids’ TV tend to be shorter (11 minute episodes, e.g.), so a fifteen page spec script would suffice (especially if it’s backed up with a series bible that expands the characters and world of the story). Then you target the relevant producers and production companies that are making kids’ TV shows.
If your query/approach lands at the right time and place, you may very well find yourself pitching for a commission. Pitching for a commission means that the producers are willing to receive ideas from you as potential episodes of their show. You don’t (typically) get paid for this. The pitches are usually a paragraph long, rarely no more than a page. If the idea is accepted, then you’ll be commissioned to script, with the usual outline and scene-by-scene stages in between. Occasionally, you may be invited to ‘writer workshops’ (and receive a modest attendance fee) where a number of writers will meet to discuss the series (the tone, characters, rules, etc), and after that, you’ll be asked to submit ideas (but just because you've attended the workshop, there's no guarantee of a commission unless the idea is really good).
When I first started, I quickly discovered that I loved writing for kids’ TV but that the work was hard (harder!) than some of my primetime TV/film work. Each kids’ show I’ve worked on has been a specific challenge in terms of its style of humour and storytelling, from the visual gags of The Amazing Adrenalini Brothers, to the teen hang-ups in Sofia’s Diary, the live-action/animation mock-doc combo of Roy, the gross-out antics of Fleabag Monkeyface and the sophisticated adventures of the Octonauts.
The number one rule about writing for kids’ TV is never be patronizing to your audience. Kids are far smarter than their parents, especially when it comes to story! Another good consideration is that stories should be child-like rather than childish. Child-like means having that sense of fun, curiosity and optimism about the world. Childish antics have their place (as many characters might have a childish outlook) but silly and stupid behaviour just for the sake of it doesn’t do anybody any favours.
Over there on the Twitter, that you have nowadays, I asked some lovely TV folk to share their tips and advice on writing for kids' TV. A lot of it chimed with the above (thanks to Jake Riddell, Hayley McKenzie, Sophie Petzal, Dom Beno, Steve Maggs, Ben Dutton, Rene Pijpers, Lizzie Ennever, Ganesh and Darren Jones) but here's a selection of replies:
Phil Ford, writer of Sarah Jane Adventures and Wizards Vs Aliens (with Russell T Davies) said: “If you think of a story you don’t think you could write for kids, write it! The best kids’ TV challenges its audience, and most of all challenges the writer. Writing good kids’ TV is tough work!”
Debbie Moon, writer of Wolfblood for CBBC: “Remember you’re writing for a broad age range. Kids’ TV often defined as 8-12s but there could be much younger siblings in the room. Kids have specific concerns: family, friendship, loyalty, fitting in. Boyfriend/girlfriend relationships not a big concern. Oh, and you can’t kill human beings. Aliens are OK but no humans (one of the few drawbacks to writing for kids!).”
James Henry (Bob The Builder): “If it’s the pre-school demographic, try not to give any character dialogue that runs for more than two lines. Try to have problems solved with a nice visual/action rather than characters just talking to each other.”
Yvonne Grace (My Dad's a Boring Nerd) : “NEVER underestimate kids’ ability to catch on and interpret complex ideas.”
Mark Huckerby & Nick Ostler, BAFTA-winners, The Amazing Adrenalini Brothers: “Kids' shows eat up stories. 52 eps not unusual. Schedules are brutal. Be head writer's friend by being a problem solver... take notes well, they might seem silly but there's usually a good reason for them, write fast, but don't be sloppy... be prolific with ideas, but be prepared to dig deep for original ones, don't submit first thoughts, they'll be cliches. Don't assume because it’s for kids that the story telling standards should be any lower!”
BAFTA also have a great podcast about what it's like writing for kids HERE (featuring James Lamont from The Amazing World of Gumball, Elly Brewer from Tracy Beaker and producer Maddy Darrall).
---
Want me to read your script? Check my consultancy page.
Why is this the case? Perhaps it’s because kids’ TV is for, well, kids. And maybe there’s a misplaced notion that writing for kids must be simple compared to primetime drama or feature films. Or that there’s not much kudos involved in writing for the genre.
If this is the case, then it’s an erroneous point-of-view. Writing for kids’ TV is challenging, fun, and profitable. It also requires the same amount of screenwriting skill and craft as writing any other drama. In some instances, it’s actually much harder because you’ll often be expected to write a funny script. No post-modern cultural references, intellectual quips or self-reflective wit, just make the script funny through the characters and story. No pressure.
Writing for kids is the purest form of storytelling because it’s free of ego and cynicism. Kids don’t care if you’re Russell T Davies. They only care if Russell T Davies tells them a good story. An idea that grabs. A story with a sense of urgency. Characters who we really care about. A plot with unpredictable twists and turns. Think kids aren’t sophisticated and can’t see a twist from a mile away? Think again.
Kids’ TV breaks down into a number of different categories: Drama, Factual, Animation, Light Entertainment and Pre-School. Pre-school targets 0-4 year olds; colourful worlds and characters specific to positive child development (Teletubbies, e.g.). Drama and Animation for 4-12 year olds are broken down into sub-categories of target age groups: 4-6, 6-9 and 9-12 year olds. 6-9 year olds is the sweet spot for most kids’ TV. Shows targeted for 9-12 year olds will typically be more ambitious and adventure-led, like Sarah Jane Adventures and Leonardo.
How do you get the opportunity to write for kids’ TV? Well, it’s the same process as primetime drama or feature films. You need to have written a spec script, and preferably a spec script in the kids’ TV genre. Formats for kids’ TV tend to be shorter (11 minute episodes, e.g.), so a fifteen page spec script would suffice (especially if it’s backed up with a series bible that expands the characters and world of the story). Then you target the relevant producers and production companies that are making kids’ TV shows.
If your query/approach lands at the right time and place, you may very well find yourself pitching for a commission. Pitching for a commission means that the producers are willing to receive ideas from you as potential episodes of their show. You don’t (typically) get paid for this. The pitches are usually a paragraph long, rarely no more than a page. If the idea is accepted, then you’ll be commissioned to script, with the usual outline and scene-by-scene stages in between. Occasionally, you may be invited to ‘writer workshops’ (and receive a modest attendance fee) where a number of writers will meet to discuss the series (the tone, characters, rules, etc), and after that, you’ll be asked to submit ideas (but just because you've attended the workshop, there's no guarantee of a commission unless the idea is really good).
When I first started, I quickly discovered that I loved writing for kids’ TV but that the work was hard (harder!) than some of my primetime TV/film work. Each kids’ show I’ve worked on has been a specific challenge in terms of its style of humour and storytelling, from the visual gags of The Amazing Adrenalini Brothers, to the teen hang-ups in Sofia’s Diary, the live-action/animation mock-doc combo of Roy, the gross-out antics of Fleabag Monkeyface and the sophisticated adventures of the Octonauts.
The number one rule about writing for kids’ TV is never be patronizing to your audience. Kids are far smarter than their parents, especially when it comes to story! Another good consideration is that stories should be child-like rather than childish. Child-like means having that sense of fun, curiosity and optimism about the world. Childish antics have their place (as many characters might have a childish outlook) but silly and stupid behaviour just for the sake of it doesn’t do anybody any favours.
Over there on the Twitter, that you have nowadays, I asked some lovely TV folk to share their tips and advice on writing for kids' TV. A lot of it chimed with the above (thanks to Jake Riddell, Hayley McKenzie, Sophie Petzal, Dom Beno, Steve Maggs, Ben Dutton, Rene Pijpers, Lizzie Ennever, Ganesh and Darren Jones) but here's a selection of replies:
Phil Ford, writer of Sarah Jane Adventures and Wizards Vs Aliens (with Russell T Davies) said: “If you think of a story you don’t think you could write for kids, write it! The best kids’ TV challenges its audience, and most of all challenges the writer. Writing good kids’ TV is tough work!”
Debbie Moon, writer of Wolfblood for CBBC: “Remember you’re writing for a broad age range. Kids’ TV often defined as 8-12s but there could be much younger siblings in the room. Kids have specific concerns: family, friendship, loyalty, fitting in. Boyfriend/girlfriend relationships not a big concern. Oh, and you can’t kill human beings. Aliens are OK but no humans (one of the few drawbacks to writing for kids!).”
James Henry (Bob The Builder): “If it’s the pre-school demographic, try not to give any character dialogue that runs for more than two lines. Try to have problems solved with a nice visual/action rather than characters just talking to each other.”
Yvonne Grace (My Dad's a Boring Nerd) : “NEVER underestimate kids’ ability to catch on and interpret complex ideas.”
Mark Huckerby & Nick Ostler, BAFTA-winners, The Amazing Adrenalini Brothers: “Kids' shows eat up stories. 52 eps not unusual. Schedules are brutal. Be head writer's friend by being a problem solver... take notes well, they might seem silly but there's usually a good reason for them, write fast, but don't be sloppy... be prolific with ideas, but be prepared to dig deep for original ones, don't submit first thoughts, they'll be cliches. Don't assume because it’s for kids that the story telling standards should be any lower!”
BAFTA also have a great podcast about what it's like writing for kids HERE (featuring James Lamont from The Amazing World of Gumball, Elly Brewer from Tracy Beaker and producer Maddy Darrall).
---
Want me to read your script? Check my consultancy page.
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