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Compilation © Robin Kelly 2001 - 2003
Edited and compiled by Robin Kelly exclusively for Writing for Performance
SHOOTING PEOPLE - UK SCREENWRITERS NETWORK
Supported by The Script Factory
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From: Martin Day
Subject: Re: police stuff
"I wonder if anyone can give me a hand. As we all know, every good screenplay has several police scenes and mine is no exception. But what do police actually say?"
The Police Training Manual by Jack English & Brian English, published by McGraw Hill, should, I think, be on every thriller or crime writer's bookshelf. You should be able to order one from your local bookshop and it might contain the answers you seek.
Failing that (and I've had to do research of this sort myself recently), try getting in touch with police officers directly - do a Web search and you'll find message boards, personal web-pages, etc. I ended up getting feedback from a handful of very senior (or retired) CID officers this way, who were more than willing to help.
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From: Mat Sunderland
Subject: Producers
Please look at a producer's point of view. I am a producer of a single feature film and several shorts. We are at present working with four writers, one we have worked with before, one new writer who we met over this list and one old man of the screen, to develop new films for the coming year.
I have been looking for scripts for some time now and try to read every script I receive, but with the commitments of pitching and meeting to get a film off the ground your time becomes limited. Plus having to sell yourself, the actors and your previous works it gets kind of difficult to fit stuff in. Even producers are allowed the odd evening off to watch the telly.
When I receive a script now I do look at the first few pages. If the script is not formatted properly, shallow as this sounds, I will generally put it down and look at something else. It is a sign that the writer is not able to look up the basics and there fore it will be another terrible script and before you scream and shout, I am sure it is a great artistic statement but I don't care, if I can't sell it to the Studios then what is the point me wasting my time.
I also like to have a treatment before I head into a 120-page epic. It is nice to know that you will at least like the idea before you start.
But also let us look at some of the responses from searching out scripts, on this list also. I have taken the time to ask for scripts off posters to this list and then there is no response, not even a sorry this idea has now been optioned, thank you for your interest, just a blank. I didn't read those scripts for obvious reasons.
I do have coffee in Soho. It is a convenient meeting place to get people together to get a deal. However I spend more of my time talking on the phone to a thousand different secretaries about when I can see so and so and if what's his name likes the idea of Will Smith killing pigs in a field with a hammer.
It is difficult. You can write quietly in a small room in Cranley and have a great time but we have the day to day of being told our vision for a project is rubbish and the commercial aspects of the project are outweighed by the fiscal returns. You think reading a script is demoralising. Try talking to a lawyer about an option for a screenplay for three hours and discussing how much they think it is worth.
Any way rant over. Keep writing and I will keep producing. That way you can moan at me. Everyone hates producers.
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From: Sheila Hayman
Subject: Producers
Where would we be without the people prepared to get the money, nursemaid the idea, develop the script, enthuse the director, sell it to distributors, and wipe the bottoms of a thousand alleged 'talents' with little or no financial reward until way, way down the line, and no personal kudos, ever? I once sat on a panel of top British producers where it was agreed that every one of them had put their home on the line at some point to get a project made, and a few of those homes had vaporised as a result. All that and - whoever heard of a producer asking for possessory credit? It seems to me a good producer's motto has to be 'There's no limit to what you can do, provided you don't care who gets the glory'.
Not everybody hates producers!
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From: Chris Loizou
Subject: 'Writers and the run-around'
In response to those who wrote in with problems of being read, noticed and understood as a writer in the British Film Industry. Let's look at the statistics, how many scripts are bought in the UK, how many get optioned and how many actually get made? That's one side but what really needs to be looked at and understood is how many genuine creative producers with the ability to actually get a film financed, green lit and into production are there and how many of these are actively looking for your material? The numbers are minuscule in comparison to the amount of scripts submitted to production companies every day.
As a writer we are constantly inside this bubble that consists of only your project and the drive and confidence in your work that helps you to the last page. This can sometimes be the same force that eventually turns to bitterness and often rage when dealing with an industry that you feel should support you and ultimately bring your dream to the screen. Thatıs the way it should be, besides they need you, right? Get ready for the truth.
Remember this, there is not one producer in the UK that can green light a film. Not one producer that can read your script and say, "we're going to make this film", not one. There are only a handful of producers in the UK that can get a film made and the process of independent producing can take literally years and the chances of that producer being the one for you, is in the millions.
What about the business? Well, surrounding those rare animals that are producers with a deal, those within the corporate structure of the British Film Industry, are the many secretaries, assistants, readers and now more and more, that most bullshit of posts, 'the Vice President'. Are you honestly waiting to find passion for your story and film amongst an entire industry that consists of ridiculous 'industry folk' lunching, partying and bullshitting whatıs left of the industry into the ground?
On the inside looking out I can put my hand on heart and say It's sometimes embarrassing being part of this often farcical business where lottery money is spent unnecessarily, deals and jobs given to people only because they are the son, daughter or friend of. The business has always been 'closed shop' and is still ridden, as is our country in many respects, with a weird class divide. And the result, bad choices, bad films. I donıt think anybody would mind a British Gangster film that gave a sense of reality and experience of the genre and not some posh idiot who thinks they know what Sun readers want to watch. The true creative voice of British film is being lost day by day.
Is it really this bad? Will things change now somebody like Alan Parker is head of one of our main Industry bodies? Will he remember all the reasons he left for Hollywood in the first place? Letıs face it, he was only ever allowed back when he proved he could be a member of the club, but look at what he had to do to prove it. Well, weıll see.
Even though this may sound like another bitter writer and yes one with a chip on his shoulder and if thatıs so, so be it, remember this, every secretary that doesnıt return your call, every producer who promised to read your work and ever production company that promised to get back to you is not part of the industry you want to be a part of, but they think they are.
So, I say, the only thing you need stay true to is yourself, your stories and more importantly your voice, as I suspect everyone of you is prepared to sell your soul for that thing you want most. Don't.
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From: Chris Loizou
Subject: Points on saleable material
Again, here I am throwing in my two pence worth re Hugo's points on what kind of scripts to write...
1) Pick a story with dramatic potential....really?
2) It helps to have a high concept....no it doesn't.
3) Target the market. If only this was possible no-one ever knows what's going to be big and the pros have been proved wrong time and time again, if your into judging markets your on the wrong side of the desk.
4) Remember the competition is.....It can take anything up to and beyond 3 years to write, sell and produce a film, you just can't judge that far ahead, you will never know what your competing against.
5) Forget about this one completely......Never ever put restrictions on your work, as a creative this is SUICIDE!!!!!!!
Try these for size. (1-5 of 100)
1) Always be thinking about stories, any stories, about anyone and anything every minute of the day. One day one will really stick! That's the one to write.
2) If you've got a great take on an idea that has sort of been done before, don't abandon it, remember you've years before it may come out.
3) You can always write something that is like something else but always use your own voice to tell the tale, you'll never go wrong that way, trust who you are and what you do, recognise your own voice and learn to love it, it may be the only truth you'll ever find in this business "always tell the truth, it's the easiest thing to remember.
4) Scripts don't get stolen from writers. Ideas can get stolen from
Producers looking for writers to write them. Don't worry about your script getting nicked just write the damn thing!
5) Write write write write....................
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From: Alex Francis
Subject: re: Points on saleable material
"2) It helps to have a high concept....no it doesn't."
At the risk of drifting into pantomime territory, oh yes it does. I don't think Hugo was saying you have to have one, or that it has to be a Hollywood style blockbuster one, but having an idea that can grab people's attention with a clever logline, or two line pitch, does help. After all, this is pretty much the same as what gets printed in magazine and newspaper listings when films come out. That is what helps an audience decide whether to go see your film. If you have an idea that can't be summarised in a way that makes the reader, or later potential viewer, go 'that sounds cool, I'd like to see that' then you are facing an uphill struggle. If your story doesn't have some kind of a hook that makes it stand out, it's that much harder to sell. Not impossible, just that much harder.
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From: Hugo Heppell
Subject: The Wrong Kind Of Snow
Last week I posted a piece on SP that drew a lot of comments - especially when I pointed out that there aren't enough good scripts - on the right kind of subject matter, being written here.
Now I admit I'm as guilty as anyone for nurturing passion projects that just make my life more difficult. But...
1) You've got to start with a story that has dramatic potential. Compare two epic feats of polar exploration. Shackleton and the Endurance vs. Ranulph Fiennes solo march to the North Pole. It's pretty obvious which one Wolfgang Peterson is going to direct. (Not the one about one man and no dog.)
2) It helps to have a 'high' concept, or at least a premise that can be told in a couple of sentences. 'In The Mood For Love' does this just as effectively as 'Billy Elliot' or 'Gladiator'. Aristotle sums up The Odyssey in four lines.
3) Target the market. Ruthlessly. Your first audience comprises agents, actors and financiers. Think what will interest them in what you have written. How do you persuade them that there is a wider audience for your film? The major cinema audience is 18-24 males. They don't, as a rule, give a stuff for structural theory, Snow White and the seven kinds of story, or Wilbur (sorry, Barney, you don't have a premise to stand on).
4) Remember the competition is not past Brit-hits like 'Lock, Stock...' or 'The Full Monty', but whatever Hollywood films are being released that week, that month. There is a never-ending supply of 'eye-candy for the blind' (as Anthony Lane memorably put it), that your film will have to battle in the multiplexes no matter how good the reviews are.
5) So: Genre. Horror: it's no surprise that WT2 are now doing a horror film with a 20-something cast. Comedy: visual rather than verbal is what travels. Thriller: very, very hard to get right. Action: expensive and so hard to do without stars. Brit-packs are not usually enough (Plunkett & Macleane). Western: basically dead. Noir: even harder than thrillers, and possibly past its sell-by date. Sci-Fi: why can't we do sci-fi?? Hats off to FFF for their new short sci-fi initiative. Period: frankly, there's too much competition.
By the way, can I add that all this debate about structure is missing the point. If you know how to tell a joke, how to tell your lover or your friends what happened yesterday, or you've got a story you've already told a hundred times, then you know structure. The books are just there to help you incorporate that instinctive knowledge into your writing. If, on the other hand, you're Billy No-Mates and people drift away in the pub before you've got to the punch-line... start looking for a job stacking shelves.
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From: Charlie Harris, www.screen-lab.co.uk
Subject: finding a producer
"I wondered if anyone had any ideas on hooking up with a producer.
I have made 3 short films and have just finished writing another which I am now applying for funding for and would dearly love to get a producer on board as this project needs more than just me being the megalomaniac (producer/writer/director) behind the wheel."
If you're anywhere near London or Manchester (or even if you're not) I urge you to join the New Producers Alliance. You'll find up and coming keen producers (as well as writers and directors) looking for people just like you. And apart from the newsletter and the networking you'll have a chance to meet movers and shakers in seminars and dramatically increase your understanding of the way the industry works.
IMPORTANT NOTE: the old rules about twice-yearly joining have now been changed so that you can join at any time in the year. (Some websites on the Net still need to be updated on this, so disregard any foul rumours to the contrary!) Cost - a snip at UKP 65.
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From: Jamie Bolt
Subject: Production Company Listings
"Does anyone happen to know of a comprehensive list of production companies in the UK, or even better, Europe."
For a list of production companies and their various projects try the PACT handbook - they have a website at www.pact.co.uk but the book is pricey - better to go to a library.
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From: Debbie Moon
Subject: UK Production Companies
Regarding Robson Green's production company, and any other UK producers who are hard to track down:
Companies House maintains a searchable website of all registered companies in the UK at www.companieshouse.co.uk. Click on Company Information, then on Companies Names and Address Index, and enter the name of the company you're looking for. It doesn't give phone numbers, but you can't have everything...
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From: Margery Bone
Subject: European Production database
You may find EU Media's European Cinema Database very helpful - it is a pretty comprehensive list of international production, sales and distribution companies, with contact details. Address below
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From: Tim
Subject: Where to send those spec. scripts
In order to contact producers you will also have to subscribe to the
Hollywood Creative Directory, http://www.hcdonline.com. You can buy it quarterly in book form, but the information online is updated weekly and having current info in Hollywood is key.
The other thing is to attend as many Film Markets, (and I mean MARKETS not festivals) as you can. Producers are hanging around by the truck load and their ear can usually be bought for the price of a beer at the bar. Whatever the nay sayers tell you, I sold my first script at the AFM and found my first Agent (ICM).
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From: Lenore Wright, The Screenwriter's Web
Subject: Producer Contact listings
These sites provide great lists of active independent producers for the Hollywood film market (if you're interested):
Tracy Keenan Wynn's site http://www.Rx4scripts.com/
Film Stew - http://www.filmstew.com/
Film Industry Central - http://www.IndustryCentral.net/
Film Stew and Film Industry Central offer very complete listings for film professionals, but Tracy Keenan Wynn's site is more accessible because he includes personal comments from his own recent screenwriting experiences. He's an award-winning writer with decades of Hollywood experience.
A new site Script Rep (http://www.scriptrep.com/) has great film studio and producer lists. When you get to the homepage click on Industry Info to get to these individual contact lists.
A nifty general information site which producers and film developers use is Film Underground --> http://www.filmunderground.com/
I have no business connection to these sites, they're just great free resources.
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From: Bob Turner
Subject: Zoetrope web site
A web site that people may want to check out is Coppola's www.zoetrope.com. The deal is that you join up to his virtual studio and send in your script by e-mail. Then you have to pick four scripts to read and review, don't worry they do give you a few examples of what they want in a review. Scripts that get a bit of a buzz going get to be looked at by Zoetrope staff but they say that all will be given a look see. One point to take note of, when you send your script you give the title and a line to describe the film. Don't do what I did and write a ten word 'English' sad assed sales pitch. When you get to pick your four scripts you will see that they are mini pitches.
Nearly forgot, there are other offices on the site where you can send artwork, costume, story boarding, poetry, short stories and novellas. Chat rooms on film craft, looks a really useful site to me.
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From: Ian D. Fleming
Subject: Regional Accents
Several ways to write regional accent dialogue:-
1 - Do a part time linguistics course where you're taught / study the phonetic structure of regional dialogue. As a writer / actor you pick up loads of great tips. For example, did you know that (apparently) the USA has only 3 distinct regional voice patterns that can be broken down phonetically and that the UK and France have the most prolific amount of different accents... in some cases, almost a different language. An that's the key to UK accents:-
2 - Learn the regional language. Like the Geordie (Newcastle) accent is really strong and they use centuries old words that you rarely, if ever, hear outside the North East:- simple eg:- 'wifey' ... meaning woman / girlfriend... 'Howay' ...Come on... so on and so forth. Same goes for Mancunian, Scouse, Brummie, etc.
3 - Even if you're not an actor, try and teach yourself to mimic a dialect from watching TV, films, etc or visiting a place. Regional TV is often best. Local news programmes usually have interviews with local people. Coronation St though is not truly representative of Manchester or a Manc accent ... Liam Gallagher's accent is a really strong example of Manc .. and it IS genuine and he's not stressing it for swagger or effect. Loads of people talk like that in the MCR. Byker Grove is sort of half Geordie even though all the cast are genuine Geordies, they tame it down for general consumption. Brookside's always had quite natural scouse in amongst it's characters. Sinbad for example and that cocky kid ... whose name escapes me now. Young lad.... been in it for a couple of years now.
Pick up on an accent. Practise and practise. I was once travelling in USA and without question certain people who I met who were from Tottenham and Tooting fully accepted I was from South London coz I used their accent. Later on it was Scouse birds on the beach in Daytona.. more than happy to spend the afternoon with a gang of lads from back home in Kirby. Scouse is an easy one. Brummie is harder. I now live in Carlisle which has the absolute weirdest accent you can imagine and is apparently a left over from Viking times. It's like a mix of Lancashire / Geordie and Scots (loads of Scots live here) and has it's own distinct set of words for language. You never ever hear it on TV even though there are a few Cumbrian actors out there in Soap land; Curly's WPC girlfriend, the girl from the Friends Nescafe break inserts is from Workington. When she was in Preston Front, her accent was more authentic So for example:-
All vowel sounds are short unless obviously paired for another longer sound...
" Ah woz gaan doon t' roahad eh ...
(they punctuate absolutely every sentence with 'Eh' and make it sound like a question)
... un dis gadgie cam wor wi 'is lass eh .... an' smacked us proper ... proper eh
... (they also repeat important bits and up the stress on the vocal sound on repeat)
so's Ah sez to 'im 'Hey marrah whot's wi dee dat fooer ? ..."
Horrible accent ... sounds really harsh on women.
4 - Read Irvine Welsh novels for an example of how he writes dialogue in dialect / slang / phonetic structure. If you haven't read them before, his novels at first jar the reader because you can't get your head round what characters are saying ... but read them with a Trainspottingesque Scots accent and read them as they're written and suddenly they all make sense.
I myself have a strong Mancunian /East Lancs accent ... similar to say Noel Gallagher or Mark Radcliffe ....... used to be very similar to Nichola who's on Big Brother at minute, but I've lost a lot of it coz I live with southerners.
I've also written scripts in dialogue, but as most people you want to read them are London based AND quite often 'posh', they've written back and said they can't read dialogue that's written phonetically to sound like a regional accent. So nowadays I just write eg:- (Scottish accent) in the parenthesis and reckon on sorting it with the relevant actors in the production.
There's also dialect books you can buy in most areas. Ring Tourist Information or Libraries in particular regions and they can usually sort you.
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