Next week, Neal Romanek is running a one-day workshop called "Writing for Pictures: Skills for Writing Film, TV, Games & Comics". According to Neal: "It's a practical, martial arts style workout for writers. Bring a pad and a couple pens and be prepared to write! I'll be doing the seminars on an ongoing basis starting in April but this is the introductory course - with low introductory rates!"
For the full details, check out the website.
Saturday, February 28, 2009
Thursday, February 26, 2009
Screenwriter's Block?
Last month, the Writers' Guild held a survey asking its members if they believed in writer's block (the possessive apostrophe donating a singular writer, as it's a personal affliction in my view). The results can be found here.
So, that's a 'no', then.
'An excuse to procrastinate'. Hmm, that seems a bit harsh to me. I would wager, and I'm playing Devil's Advocate here, that you can only appreciate and understand writer's block once you've actually experienced it yourself. Perhaps it's like when a friend moans of back pain, and you nod with some sympathy but don't give it much thought. Then, when you find yourself seized with a spasm, you suddenly realise the true nature of your friend's misery.
Also, I think the term writer's block conjures up images of writers not doing anything at all; gnashing and procrastinating, avoiding their desk like the plague. People who don't believe in writer's block will tell you to sit down and just write anything. Get the rubbish out of your head. Find the good stuff again. Sounds like a neat solution but I don't think it quite fits the action required to get out of the funk.
Here's my view: it's not that the writer CAN'T write anything, it's that he/she knows that what they're coming up with has little or no value. The conflict emerges when the writer becomes too aware of every single word they're processing, and nothing satisfies their creative sense of expression. They could write a whole chapter, book or script, but still consider themselves blocked because they wouldn't be happy or it wouldn't be up to their standards, and the work quickly finds its way into the bin.
That's a terrifying prospect but one I suspect is all too real for a lot of writers. Yes, it is self inflicted and psychological - fear of failure, whatever you want to argue - but even so, does that mean that writer's block is any less real, regardless of the reasons or self-imposed embargo?
Perhaps there is no such thing as screenwriter's block. A screenwriter has no choice but to finish a script, especially if he's working in TV. You can't avoid a deadline forever, and you won't get paid until you finish what you signed up for. Even a script in development hell needs to be worked on, and a screenwriter may experience frustration and blocked moments there, but in the end, something will out. I would imagine when a screenwriter works through writer's block, the resulting script is never to their satisfaction, and quite possibly the producer's too, which could harm the writer's chances of future work.
So, writer's block? Yes, I believe it. Just ask Truman Capote, Ralph Ellison or JD Salinger. Screenwriter's block? Maybe not so much. I hope never to fall under its spell but I've certainly experienced a time where I anguished over what I was writing, deeming it not good enough to finish, or if I did, to keep it on the computer for my weary eyes only. This period emerged after a harsh run of rejections and near misses. My confidence was low, and I was desperate to find my mojo. I was writing but I wasn't writing anything good, or so I thought. I got out of the slump, but it's not a nice place to be.
So, that's a 'no', then.
'An excuse to procrastinate'. Hmm, that seems a bit harsh to me. I would wager, and I'm playing Devil's Advocate here, that you can only appreciate and understand writer's block once you've actually experienced it yourself. Perhaps it's like when a friend moans of back pain, and you nod with some sympathy but don't give it much thought. Then, when you find yourself seized with a spasm, you suddenly realise the true nature of your friend's misery.
Also, I think the term writer's block conjures up images of writers not doing anything at all; gnashing and procrastinating, avoiding their desk like the plague. People who don't believe in writer's block will tell you to sit down and just write anything. Get the rubbish out of your head. Find the good stuff again. Sounds like a neat solution but I don't think it quite fits the action required to get out of the funk.
Here's my view: it's not that the writer CAN'T write anything, it's that he/she knows that what they're coming up with has little or no value. The conflict emerges when the writer becomes too aware of every single word they're processing, and nothing satisfies their creative sense of expression. They could write a whole chapter, book or script, but still consider themselves blocked because they wouldn't be happy or it wouldn't be up to their standards, and the work quickly finds its way into the bin.
That's a terrifying prospect but one I suspect is all too real for a lot of writers. Yes, it is self inflicted and psychological - fear of failure, whatever you want to argue - but even so, does that mean that writer's block is any less real, regardless of the reasons or self-imposed embargo?
Perhaps there is no such thing as screenwriter's block. A screenwriter has no choice but to finish a script, especially if he's working in TV. You can't avoid a deadline forever, and you won't get paid until you finish what you signed up for. Even a script in development hell needs to be worked on, and a screenwriter may experience frustration and blocked moments there, but in the end, something will out. I would imagine when a screenwriter works through writer's block, the resulting script is never to their satisfaction, and quite possibly the producer's too, which could harm the writer's chances of future work.
So, writer's block? Yes, I believe it. Just ask Truman Capote, Ralph Ellison or JD Salinger. Screenwriter's block? Maybe not so much. I hope never to fall under its spell but I've certainly experienced a time where I anguished over what I was writing, deeming it not good enough to finish, or if I did, to keep it on the computer for my weary eyes only. This period emerged after a harsh run of rejections and near misses. My confidence was low, and I was desperate to find my mojo. I was writing but I wasn't writing anything good, or so I thought. I got out of the slump, but it's not a nice place to be.
Monday, February 23, 2009
Always Learning
What I love about screenwriting is that you're always learning, no matter where you are or what you've achieved in your career. When you begin, there's a lot of finding your feet which is quickly matched with a hunger to improve, and so screenplay books and courses are all devoured. A basic understanding of three-act structure. Check. McKee's Story. Been there. Hero's Journey? Done that. Analysing films? Seen the remake.
So, armed with a newfound appreciation of screenwriting craft and a general knowledge of what it takes to get ahead, you think you can walk the walk. However, there is often a big difference in what you think you know, to how you actually apply your knowledge into the process. This is where you really learn about yourself and your writing. It's all very well to say this and that, or blog about the blandness of the current releases, but you simply don't know if you have what it takes until you get your first taste of the professional pudding. This means dealing with notes and deadlines and rewrites, and a wide range of unexpected twists and turns that the development process can throw at you.
My recent experience with EastEnders is a good example of this. I was SO grateful I had done the trial episodes. However, at the time of the trial episodes, I was thinking: "I'm good enough. Just give me the work!" The first time I tried out, got rejected. Second time, got the gig. Now, a proper commission. But while the trial eps were vital in learning the basics of what it takes to write an episode of EastEnders, the real commission took it to a whole new level.
Attending the commissioning meeting. Talking about scheduling (sets/actors available), necessary story changes, agreeing on an approach. Then, first draft, dealing with notes, any impact from the previous episode, how your episode is going to affect the ones that follow, sharpening scenes, focusing on character arcs, more story changes etc. We all know about this but suddenly being presented with it, and having to deal with it, are two different things entirely. There's a very real pressure and expectation, something you can't quite emulate when it's just you at home, bashing out a script and thinking it kicks ass.
Personally, I've loved the process, and relish getting my hands dirty as much as possible, but I've learned so much in the past month: from a more raised awareness of everything I think I know, to a sharpened sense of knowing what to do in any given scene. Of course, I've learned from previous experience: how your perfectly written scene plays out in your head as opposed to how it actually turns out on screen, jokes that don't work, description that confuses the director when you think it's perfectly clear. All invaluable in your learning curve as a writer.
I spoke to a casting director today about my short film. Straight-talking, professional, practical and to the point. Really helpful, just the right kind of kick-start to make you realise you have to raise your game at every turn, and not just get by on what you think you're bringing to the table. Always learn. Keep improving. Repeat.
So, armed with a newfound appreciation of screenwriting craft and a general knowledge of what it takes to get ahead, you think you can walk the walk. However, there is often a big difference in what you think you know, to how you actually apply your knowledge into the process. This is where you really learn about yourself and your writing. It's all very well to say this and that, or blog about the blandness of the current releases, but you simply don't know if you have what it takes until you get your first taste of the professional pudding. This means dealing with notes and deadlines and rewrites, and a wide range of unexpected twists and turns that the development process can throw at you.
My recent experience with EastEnders is a good example of this. I was SO grateful I had done the trial episodes. However, at the time of the trial episodes, I was thinking: "I'm good enough. Just give me the work!" The first time I tried out, got rejected. Second time, got the gig. Now, a proper commission. But while the trial eps were vital in learning the basics of what it takes to write an episode of EastEnders, the real commission took it to a whole new level.
Attending the commissioning meeting. Talking about scheduling (sets/actors available), necessary story changes, agreeing on an approach. Then, first draft, dealing with notes, any impact from the previous episode, how your episode is going to affect the ones that follow, sharpening scenes, focusing on character arcs, more story changes etc. We all know about this but suddenly being presented with it, and having to deal with it, are two different things entirely. There's a very real pressure and expectation, something you can't quite emulate when it's just you at home, bashing out a script and thinking it kicks ass.
Personally, I've loved the process, and relish getting my hands dirty as much as possible, but I've learned so much in the past month: from a more raised awareness of everything I think I know, to a sharpened sense of knowing what to do in any given scene. Of course, I've learned from previous experience: how your perfectly written scene plays out in your head as opposed to how it actually turns out on screen, jokes that don't work, description that confuses the director when you think it's perfectly clear. All invaluable in your learning curve as a writer.
I spoke to a casting director today about my short film. Straight-talking, professional, practical and to the point. Really helpful, just the right kind of kick-start to make you realise you have to raise your game at every turn, and not just get by on what you think you're bringing to the table. Always learn. Keep improving. Repeat.
Sunday, February 22, 2009
Funny & Vote
Just a quickie, if I may, to point you in the direction of Funny or Die website and check out Messrs Arnopp & Turner's sketch ditty, Cock & Balls, part of their new comedy project, Splendid. Indeed.
Don't click on it if you're at work, it's a bit saucy! Vote FUNNY, and help get it the recognition it deserves for such a neat one-minute rib-tickler.
Don't click on it if you're at work, it's a bit saucy! Vote FUNNY, and help get it the recognition it deserves for such a neat one-minute rib-tickler.
Friday, February 20, 2009
Story Vault: Making Short Films
Well, Esther seems to be keen to do a follow up to her Q&A, based on your reaction, so I've thrown her a few more questions to get her going. I had no complaints about her interview. Anybody who agrees to do a Q&A are usually busy professionals who are hard-pressed for time (especially those who've just won a Bafta!), so I'm grateful if they're willing to spend whatever spare moments they can mulling over a blog interview.
Sticking to the short film theme, here's a post from a few years ago when Mark Kermode gave his top tips for making short films. Little bits like this are always useful, and I'm doing lots of research at the moment, trying to soak up as much as I can. Chris Jones's Gone Fishing seminar is proving to be especially helpful in this regard. If you don't know about Chris or his chase for Oscar glory with his short film, then hurry on over to his website and blog for the full skinny. It's inspiring, entertaining and educational stuff.
Right. That's about it for now. Have a great weekend, all!
---
Mark Kermode, in his review of the Bristol Brief Encounters (Short Film) Festival, gave his top five tips on making short films.
For those who missed it, here they are:
1. Quirky is Good
Being genuinely surprising and original will always make your short stand out. The Kermode made particular reference to a short film where seven naked men march down a cosy suburban street, for no apparent reason. Their behaviour appalls children and women but husbands are curiously drawn into joining the naked men on their inexplicable march. The clip was very funny. Another reference was made to a Brazilian short (I think) where a girl is given a present of a small record player but is told by her mum never to play the ‘little green record’. Of course she does, and every time she does, her mother loses a limb…
2. You See with Your Ears
As your budget will no doubt be miniscule, you can still get away with a vast cornucopia of imagery (I’m turning into Kermode now) thanks to a discerning use of sound. The Kermode gave an example of a huge car crash being witnessed by a guy in the street but all we see is him staring and HEAR the noise of the crash, and then cut to cars piled up. Worked very well. Also, using sound to heighten tension and elevate the drama of your scene.
3. Robert de Niro is Waiting
A short may be fine and well even if it’s done with friends and family but it truly can stand out if you can attach a known actor. The presence of a recognisable actor (or preferably star) does automatically give your story more appeal and enjoyment (that’s why stars have so much power). If you think your script is really good, then why not aim high and send it to the actors you’d love to be in it.
4. Never mind the Popcorn, Mind the nuts and Bolts
The technical aspects of your short need to be sound - from the basics of sound and photography etc - but quirkier and more original aspects of technicality can make your short stand out from the rest. The Kermode showed us a clip of a black&white film of a man & woman about to kiss but the editor (part of the film) makes a mistake and he splices the man & woman upside down from each other, and the setting around them collapses around them in whatever gravity is pulling their side.
5. Keep Your Shorts, Short
Fifteen minutes can feel like interminable death if your story’s a dud. Five to ten minutes is more common, three minutes widely acceptable but now shorts are running on anything from 10secs upwards. But the best shorts are exactly that. Short.
I hope it’s clear I’ve paraphrased The Kermode, this isn’t his word for word rendition, just my memory of it as I avoid writing a couple of script reports this morning… And of course, if you haven't done so already, do have a look at my no-budget (3 min) short film, On the Death of His Wife.
---
Sticking to the short film theme, here's a post from a few years ago when Mark Kermode gave his top tips for making short films. Little bits like this are always useful, and I'm doing lots of research at the moment, trying to soak up as much as I can. Chris Jones's Gone Fishing seminar is proving to be especially helpful in this regard. If you don't know about Chris or his chase for Oscar glory with his short film, then hurry on over to his website and blog for the full skinny. It's inspiring, entertaining and educational stuff.
Right. That's about it for now. Have a great weekend, all!
---
Mark Kermode, in his review of the Bristol Brief Encounters (Short Film) Festival, gave his top five tips on making short films.
For those who missed it, here they are:
1. Quirky is Good
Being genuinely surprising and original will always make your short stand out. The Kermode made particular reference to a short film where seven naked men march down a cosy suburban street, for no apparent reason. Their behaviour appalls children and women but husbands are curiously drawn into joining the naked men on their inexplicable march. The clip was very funny. Another reference was made to a Brazilian short (I think) where a girl is given a present of a small record player but is told by her mum never to play the ‘little green record’. Of course she does, and every time she does, her mother loses a limb…
2. You See with Your Ears
As your budget will no doubt be miniscule, you can still get away with a vast cornucopia of imagery (I’m turning into Kermode now) thanks to a discerning use of sound. The Kermode gave an example of a huge car crash being witnessed by a guy in the street but all we see is him staring and HEAR the noise of the crash, and then cut to cars piled up. Worked very well. Also, using sound to heighten tension and elevate the drama of your scene.
3. Robert de Niro is Waiting
A short may be fine and well even if it’s done with friends and family but it truly can stand out if you can attach a known actor. The presence of a recognisable actor (or preferably star) does automatically give your story more appeal and enjoyment (that’s why stars have so much power). If you think your script is really good, then why not aim high and send it to the actors you’d love to be in it.
4. Never mind the Popcorn, Mind the nuts and Bolts
The technical aspects of your short need to be sound - from the basics of sound and photography etc - but quirkier and more original aspects of technicality can make your short stand out from the rest. The Kermode showed us a clip of a black&white film of a man & woman about to kiss but the editor (part of the film) makes a mistake and he splices the man & woman upside down from each other, and the setting around them collapses around them in whatever gravity is pulling their side.
5. Keep Your Shorts, Short
Fifteen minutes can feel like interminable death if your story’s a dud. Five to ten minutes is more common, three minutes widely acceptable but now shorts are running on anything from 10secs upwards. But the best shorts are exactly that. Short.
I hope it’s clear I’ve paraphrased The Kermode, this isn’t his word for word rendition, just my memory of it as I avoid writing a couple of script reports this morning… And of course, if you haven't done so already, do have a look at my no-budget (3 min) short film, On the Death of His Wife.
---
Friday, February 13, 2009
Superstition
If you've got an irrational fear of Friday the 13th (the calendar day, not the movie), then you are a paraskevidekatriaphobe. Tricky little tongue twister, innit? What's worse, if you can actually pronounce paraskevidekatriaphobe and say it aloud, it acts as a curse, and you are doomed to a lifetime of misfortune on the year's most unluckiest day. That last bit's not really true. Or maybe it is. Come on, say it with me: para - skevi - deka - tria - phobe. Dammit, the mirror's just broke.
Are you superstitious? Writers are a quirky bunch at the best of times so there are plenty of signs and defining moments that we like to assume are designed with us in mind, good or bad. Destiny, fate, karma, what goes around, and all that; I think we all pretty much subscribe to some sort of superstitious point-of-view, regardless of faith or belief in the supernatural.
I love all things supernatural, especially in film and TV (a lot of my scripts will have a supernatural edge), but I have long since veered from any real belief of things that go bump in the night. When I was a kid, Friday the 13th and Halloween (again, the calendar days, not the movies, although they had their moments) used to scare the bejesus out of me. Now, not so much. In fact, I like to think of Friday the 13th as a lucky day and ever since I've adopted this view, it comes and goes with little fuss, and sometimes it can really be lucky, depending on what I'm up to. But I certainly don't cower indoors with fear, or refuse to work, or pick up the phone, or whatever. Of course, by saying all this, I'm probably going to have one of the most unluckiest days of my life. That's superstitious thinking, isn't it?
If you're staying indoors today, refusing to let Lady Luck have her wicked way with you, then you might want to curl up with this link: "100 Inspirational Posts to Make You a Better Writer". It's even broken down into sections: technique, productivity, mistakes, tips, etc, and it's so useful, it's practically research. Not procrastinating. Or avoiding Friday the 13th. Have fun!
Are you superstitious? Writers are a quirky bunch at the best of times so there are plenty of signs and defining moments that we like to assume are designed with us in mind, good or bad. Destiny, fate, karma, what goes around, and all that; I think we all pretty much subscribe to some sort of superstitious point-of-view, regardless of faith or belief in the supernatural.
I love all things supernatural, especially in film and TV (a lot of my scripts will have a supernatural edge), but I have long since veered from any real belief of things that go bump in the night. When I was a kid, Friday the 13th and Halloween (again, the calendar days, not the movies, although they had their moments) used to scare the bejesus out of me. Now, not so much. In fact, I like to think of Friday the 13th as a lucky day and ever since I've adopted this view, it comes and goes with little fuss, and sometimes it can really be lucky, depending on what I'm up to. But I certainly don't cower indoors with fear, or refuse to work, or pick up the phone, or whatever. Of course, by saying all this, I'm probably going to have one of the most unluckiest days of my life. That's superstitious thinking, isn't it?
If you're staying indoors today, refusing to let Lady Luck have her wicked way with you, then you might want to curl up with this link: "100 Inspirational Posts to Make You a Better Writer". It's even broken down into sections: technique, productivity, mistakes, tips, etc, and it's so useful, it's practically research. Not procrastinating. Or avoiding Friday the 13th. Have fun!
Monday, February 09, 2009
Love Is In The Air
OK, updates. What first? Red Planet? 'Kay. We're down to the final shortlist and the judges are trying to decide on the winner. Hopefully, this won't take long but we had lots of fighting talk about the 2nd round scripts, so it won't be any easier choosing an actual winner. Standard really high. Really.
EastEnders? 2nd draft sent in today. Really enjoying my episode, and it's shaping up well (I think) so looking forward to the next stage, fingers and toes crossed. It's not for broadcast until May. May! That's, like, four months away! I'm sure it will creep around quickly enough.
Twitter? I've taken the plunge and signed up to see what it's like. I did have a link to my tweets here but thought that kind of defeated the purpose of the blog proper, so if you'd like to 'follow me', then come on over, the heating's on. I'm still figuring out what Twitter's all about, but so far it seems like harmless fun, and even more procrastination. Winner.
Short film? Wow! Thanks for your donations! Good response to the booklet initiative, too, so that tells me that I should perhaps think of a few more incentives like it, to boost the budget even further. The booklet lists the full contact details of 22 leading film companies in the UK, a must-have if you want to target the real movers and shakers in this country. Some accept unsolicited material, most don't, but for a list of companies where unsolicited material is always welcome, then this link from 2006 is still useful (and popular!).
Next step for the short is to do another pass on the script, and get the key HODs (that's 'Head of Departments', get me) together for pre-production, which should begin in earnest towards the end of the month. I'll be starting my video diary around then. For access to that, you need to donate £25. So, just to remind you, the donations break down like this:
£10 (you get the script, the 'Get Your Movie Made' booklet, and a 'thanks' credit)
£25 (you get the above, a 'special thanks' credit, plus access to a video diary, and a DVD copy of the film)
£50 (you get the above, an 'associate producer' credit, plus an invite to an industry screening)
Simply press the 'Donate' button in the sidebar to make a payment of your choice. I thank you.
It's Valentine's week, so love is most definitely in the air. If you fancied getting your loved one something different this year, me good mate Laurie Peters has designed some special Valentine cards that offer a different perspective on the romantic holiday. Check 'em out!
EastEnders? 2nd draft sent in today. Really enjoying my episode, and it's shaping up well (I think) so looking forward to the next stage, fingers and toes crossed. It's not for broadcast until May. May! That's, like, four months away! I'm sure it will creep around quickly enough.
Twitter? I've taken the plunge and signed up to see what it's like. I did have a link to my tweets here but thought that kind of defeated the purpose of the blog proper, so if you'd like to 'follow me', then come on over, the heating's on. I'm still figuring out what Twitter's all about, but so far it seems like harmless fun, and even more procrastination. Winner.
Short film? Wow! Thanks for your donations! Good response to the booklet initiative, too, so that tells me that I should perhaps think of a few more incentives like it, to boost the budget even further. The booklet lists the full contact details of 22 leading film companies in the UK, a must-have if you want to target the real movers and shakers in this country. Some accept unsolicited material, most don't, but for a list of companies where unsolicited material is always welcome, then this link from 2006 is still useful (and popular!).
Next step for the short is to do another pass on the script, and get the key HODs (that's 'Head of Departments', get me) together for pre-production, which should begin in earnest towards the end of the month. I'll be starting my video diary around then. For access to that, you need to donate £25. So, just to remind you, the donations break down like this:
£10 (you get the script, the 'Get Your Movie Made' booklet, and a 'thanks' credit)
£25 (you get the above, a 'special thanks' credit, plus access to a video diary, and a DVD copy of the film)
£50 (you get the above, an 'associate producer' credit, plus an invite to an industry screening)
Simply press the 'Donate' button in the sidebar to make a payment of your choice. I thank you.
It's Valentine's week, so love is most definitely in the air. If you fancied getting your loved one something different this year, me good mate Laurie Peters has designed some special Valentine cards that offer a different perspective on the romantic holiday. Check 'em out!
Wednesday, February 04, 2009
Get Your Movie Made!
Got a great script? Finding it difficult to interest a producer? Think there's no-one out there willing to make your movie? Or are you stuck in development hell?
I've compiled a booklet called 'Get Your Movie Made!', a list of 20 leading film companies in the UK (well, in fact there's 22) who actually make and distribute films in this country. The list includes full contact details, whether or not they accept unsolicited material, key personnel and previous credits, plus any other relevant information. If your script isn't being read by one of these guys, chances are it's not going to get made at all.
The booklet is an incentive for people to donate to my short film and a 'thank you' to those who already have. I know we're all a bit cash-strapped these days so if you're going to give a little, then I want to give a little back, hence the booklet and the latest information posted on the blog. I'm charging £10 for the booklet ** UPDATE, NOW ONLY A FIVER ** and all proceeds will go into the production of my short. If you'd like a copy, PayPal is the easiest way to pay (using dstack30 at hotmail . com address), or email me for more details.
And just as Second Picture Syndrome opens up, another interesting opportunity has come along from our friends over at Icewhole.com. Check it out:
"We have been approached by some serious film financiers who are keen on making low budget feature films. They want to cherry pick the most exciting new film talent and are not afraid to take a chance on new film makers/actors/writers if their ideas are good enough.
So here’s what we’re after:
• Original full treatments or full length scripts - (guys and gals, please remember to register your treatments/scripts via yourself or the various national associations to protect your ownership\ copyright in the project before emailing them to us)
• And, if you have a made a trailer or short film specifically, to be expanded into a full length low budget feature, and we like them, then we would be prepared to include it in our submissions to the financiers
Our production company (which is associated with Icewhole.com - a site supported by Morgan Freeman/Richard Attenborough/John Hurt etc.) will co-produce each film and ensure that the maximum amount of talent where feasible is drawn from Icewhole members.
We have an obligation to create a sustainable level of high quality productions values to ensure we can continue this potentially long running exciting relationship.
NOTE: To be involved (as a writer/director/actor) you must have an Icewhole profile – please note we will not accept submissions from those without profiles.
Please email us at: firstfilmfund @ icewhole . com with your idea and a link to your Icewhole profile page. In the meantime check out the awesome Icewhole panel."
Sounds interesting, and worth a further look.
Thanks to all who have kindly donated to my short so far. I'll be blogging with updates as soon as pre-production begins in earnest in a few weeks, once I finish my EastEnders episode. The adventure starts here...
I've compiled a booklet called 'Get Your Movie Made!', a list of 20 leading film companies in the UK (well, in fact there's 22) who actually make and distribute films in this country. The list includes full contact details, whether or not they accept unsolicited material, key personnel and previous credits, plus any other relevant information. If your script isn't being read by one of these guys, chances are it's not going to get made at all.
The booklet is an incentive for people to donate to my short film and a 'thank you' to those who already have. I know we're all a bit cash-strapped these days so if you're going to give a little, then I want to give a little back, hence the booklet and the latest information posted on the blog. I'm charging £10 for the booklet ** UPDATE, NOW ONLY A FIVER ** and all proceeds will go into the production of my short. If you'd like a copy, PayPal is the easiest way to pay (using dstack30 at hotmail . com address), or email me for more details.
And just as Second Picture Syndrome opens up, another interesting opportunity has come along from our friends over at Icewhole.com. Check it out:
"We have been approached by some serious film financiers who are keen on making low budget feature films. They want to cherry pick the most exciting new film talent and are not afraid to take a chance on new film makers/actors/writers if their ideas are good enough.
So here’s what we’re after:
• Original full treatments or full length scripts - (guys and gals, please remember to register your treatments/scripts via yourself or the various national associations to protect your ownership\ copyright in the project before emailing them to us)
• And, if you have a made a trailer or short film specifically, to be expanded into a full length low budget feature, and we like them, then we would be prepared to include it in our submissions to the financiers
Our production company (which is associated with Icewhole.com - a site supported by Morgan Freeman/Richard Attenborough/John Hurt etc.) will co-produce each film and ensure that the maximum amount of talent where feasible is drawn from Icewhole members.
We have an obligation to create a sustainable level of high quality productions values to ensure we can continue this potentially long running exciting relationship.
NOTE: To be involved (as a writer/director/actor) you must have an Icewhole profile – please note we will not accept submissions from those without profiles.
Please email us at: firstfilmfund @ icewhole . com with your idea and a link to your Icewhole profile page. In the meantime check out the awesome Icewhole panel."
Sounds interesting, and worth a further look.
Thanks to all who have kindly donated to my short so far. I'll be blogging with updates as soon as pre-production begins in earnest in a few weeks, once I finish my EastEnders episode. The adventure starts here...
Monday, February 02, 2009
Second Picture Syndrome
Slingshot Studios, in association with Ingenious Media, Optimum Releasing and The Salt Company have launched 'Second Picture Syndrome', a new development and training programme designed to develop and package mid-budget genre feature films ($10 to $25m) with international appeal. The programme provides creative and market-led support to 10 writers and directors, with specific focus on the emerging generation of British filmmakers.
Slingshot is looking for applications from writers and directors who fulfill the following selection criteria:
* At least one feature film released in the UK and/or internationally to either critical acclaim or clear commercial success
* Alternatively, aspiring filmmakers with exceptional commercial success in a related non-film field e.g. best selling novelists, comic book writers, directors with an outstanding track-record in prime-time television or theatre
* UK and/or US agent representation
If Slingshot get 20 applications from this blog (tell them you heard it here), they'll donate £40 to my short film.
DEADLINE FOR APPLICATIONS IS 28 FEBRUARY. For the full run-down, check out the website.
Thanks for your donations to my short film, which keep coming in. I am humbled by your generosity. I know there are a few who'd like to contribute but can't quite afford to, which is perfectly understandable, so to make a basic tenner donation more inviting I've compiled a booklet called 'Get Your Movie Made', a list of the top 20 companies in the UK who, y'know, actually make and distribute films in this country.
If your script is not being read by these guys, then chances are your film won't get made at all. The list includes whether or not they accept unsoliticed material, full contact details, key personnel and previous credits. It really is a handy booklet, so if you wanted your own copy, simply donate a tenner to my short (using the link on the sidebar) and I'll email you the pdf document. You give a little, I give a little. Lovely.
Slingshot is looking for applications from writers and directors who fulfill the following selection criteria:
* At least one feature film released in the UK and/or internationally to either critical acclaim or clear commercial success
* Alternatively, aspiring filmmakers with exceptional commercial success in a related non-film field e.g. best selling novelists, comic book writers, directors with an outstanding track-record in prime-time television or theatre
* UK and/or US agent representation
If Slingshot get 20 applications from this blog (tell them you heard it here), they'll donate £40 to my short film.
DEADLINE FOR APPLICATIONS IS 28 FEBRUARY. For the full run-down, check out the website.
Thanks for your donations to my short film, which keep coming in. I am humbled by your generosity. I know there are a few who'd like to contribute but can't quite afford to, which is perfectly understandable, so to make a basic tenner donation more inviting I've compiled a booklet called 'Get Your Movie Made', a list of the top 20 companies in the UK who, y'know, actually make and distribute films in this country.
If your script is not being read by these guys, then chances are your film won't get made at all. The list includes whether or not they accept unsoliticed material, full contact details, key personnel and previous credits. It really is a handy booklet, so if you wanted your own copy, simply donate a tenner to my short (using the link on the sidebar) and I'll email you the pdf document. You give a little, I give a little. Lovely.
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