Archive for June, 2009
Wednesday, June 24th, 2009
COMING SOON: Vampires + more Sandwich-Boards
Following Monday’s post about Choosing Your Battles, I now somehow seem to have the rest of the year’s work fully lined up. Writing-wise anyway. With my actual scriptreading work seemingly drying up and unfortunately not getting the librarian job I was hoping for, I will be going back to being an office temp for a while. But at least I’ve got these fun things to be thinking about by night.
And speaking of things by night, please check out the promo video for ‘They Ony Come at Night: Resurrection‘ - the vampire themed show by Slung Low playing at the Lowry in Salford from September 2nd - 12th.
They Only Come at Night: Resurrection from Slung Low on Vimeo.
I’m not actually working on the show directly (although it will feature spectacular music and sound design by the lovely Heather) but have been working on an accompanying online narrative intended to bring the world of the story to audiences who aren’t able to attend the Salford show or its London sequel/counterpart ‘They Only Come at Night: Visions’ performing at the Barbican in November. I’ve really enjoyed contributing to these shows but also can’t wait to see them 
This week I also found out that a project of mine was selected to be guinea-pigged by those training for the professional diploma in script development at the Scriptfactory. A friend of mine did the diploma a few years ago and is one of the two sharpest minds I’ve met when it comes to drama development so, while my project will act as someone’s ‘practical exam’, I’m really looking forward to collaborating on a project solidly for five months.
I hope you’ll understand if I don’t say too much about the project at this stage, but I will say that it is an apocalyptic comedy and features that familiar trope of mine - the sandwich-board man 
I know…what’s wrong with me! The sample script I’d already written featuring the two characters above was genuinely the most fun I’d ever had writing. There’s lots of work still to be done but I’m really looking forward to it and really pleased I decided at the last minute not to submit the bleak Brit-thriller idea!
Anyway, I’ll update as and when for either project and I am really looking forward to launching the online stuff. In the meantime, I am now vanishing as me and that lovely Heather have finally managed to arrange a proper summer holiday for the first time in years. See you in a week… Barcelona here we come!!
Tuesday, June 23rd, 2009
‘Millennium’ Movie: Bring Back Frank Black
I was approving some of the comments that come through on this blog (in amongst the bizarre amount of spam that pretends it’s interested in my ramblings) when I was pleasantly surprised to get a comment on this post I wrote back in April about different types of endings. The comment was from Mark Hayden of Back to Frank Black, a campaign to get the TV series ‘Millennium‘ - starring the ever impressive Lance Henriksen as profiler Frank Black - back on our screens as a feature film; especially as box sales of the DVD box sets have shown a strong appreciation for the series.
Earlier in the year, I bought the soundtrack of ‘Millennium‘ on CD as it makes fantastic writing background music (unless you’re writing a rom-com). I knew there was an amount of fan excitement at the prospect of a ’Millennium‘ movie but I hadn’t realised there was a also a great deal of interest from the cast and crew as well (including Lance Henriksen himself).
So I just thought I’d do my part for the cause. If you’d be interested in seeing a Millennium movie click on the picture to head to their campaign site. There’s a petition to sign as well as all sorts of cool interviews and merchandise or just follow their progress on twitter. There’s even a rather nifty flash animated Millennium game which I took a close look at for my own online ideas.
Not only a good cause to see a decent metaphysical murder-mystery on the big screen but also a really fun site. I originally blogged about ‘Millennium‘ as I thought it was a really good example of how to end a series - but that doesn’t mean I don’t want to see more! Fingers crossed 
Tuesday, June 23rd, 2009
Choosing your Battles
If you’re an aspiring writer type like me, you probably lament the lack of writing opportunities only to then see a competition or writing scheme at the BBC Writersroom with only three weeks until the deadline. And then do some more lamenting. And possibly some lamenating? (optional).
Much to my initial chagrin, I will be watching opportunities to submit new scripts for CBBC Drama as well as for the Peter Ustinov Television Scriptwriting Award sail past me. While you ‘have to be in it to win it’, I also think that’s a bit of a moot point - maybe if I had suitable scripts on file that I could do a final polish on before submitting. But I haven’t. So I’m chickening out.
Does this sound a bit pessimisitc/cowardly? Shouldn’t I actually just be cutting the chord and taking the plunge? Maybe, but only if upon reading about a certain script competition the right idea suddenly hit me, inspired by the perameters of the scheme. In that case, go for it.
When these competitions appear, I’m usually in the middle of working on something else and just get muddled. I’ve been engrossed getting my last draft of theatre spectacle ‘Beyond the Front Line’ handed in as well as concentrating on another online project (involving vampires!) for Slung Low which we’ll be unveiling shortly. There just wasn’t room in my head for anything else!
So while I will miss this competition now, I hopefully still have plenty of chances to come up with the perfect children’s show ideas down the line. Until then, I really am concentrating on laying out specific projects for myself: actual commissioned work and upcoming schemes as well as setting my own deadlines for those perfect calling card scripts. It’s all about getting the balance right.
But most of all, I just don’t want to churn out what I think people want and then not really pleasing anyone. That’s how you end up with Kingdom of the Crystal Skull. So good luck to everyone entering the CBBC or any other schemes. I like to think I’ve done you a favour - not because I would have been your competition, but rather that now my hastily churned-out last-minute waste-of-everyone’s-time script will no longer have the chance to put the judges in a bad mood before they get to read yours
Saturday, June 20th, 2009
‘Disengage Your Brain’
You hear that a lot. Usually as a proviso to ‘this movie is a bit shit but…’ etc etc. And then someone replies ‘well, I didn’t come to see this movie because of the plot’ etc etc. But herein lies the problem. I don’t think that our big fun summer blockbusters need more plot - they need less! But it needs to a good one.
Look at the summer’s big releases…
All these are special effects/set-piece driven. I’ve got no problem with that. Audiences know what the worlds of these stories are whether they’re fans of the franchises or not. But I still don’t think we can easily or clearly describe the central premise, the high-concept, of any of these films.
Is that the problem? That we’re so familiar with the franchise already that it then gets decided to throw all sorts of twists and plots and sub-arcs which complicate rather than add to the picture. I don’t think that audiences want to ignore the plot - it’s just that, more often or not, we end up having to give up on it and just let it wash over us.
Okay, technically Die Hard is sort of a Christmas movie. But it annoys me when people say that action movies are dumb. It infuriates me when people generalise that anything with explosions in it can’t also be a good film. Something like Die Hard, for me, works entirely because it is so clear in concept. There’s sub-plots and all sorts going on but the concept is so clear that the film itself then entered the lexicon (‘Die Hard on a Boat, Die Hard on a Plane’ etc etc).
It is big but it’s also clever - and not in a pretentious way. I’m as annoyed by reviews criticising the concept of autobots and decepticons fighting as I am by films that somehow manage to make that boring.
So are your favourite summer blockbusters also good movies? Just because its fun, does it have to be dumb?
Monday, June 15th, 2009
High Concept = High Cost?
Does genre television need to be so expensive? Just as the news breaks that ITV’s Saturday night family dino-fest Primeval was being adapted as a Hollywood feature and possibly TV show, the news broke that ITV have cancelled their own version. This is a shame in and of itself, but this reported quick chat with someone close to the production revealed the real reason which I find far more worrying:
Basically ITV have changed their policy about drama before 9pm in that they’ve decided they really don’t want any, at least not of the quality and cost of Primeval. The show remained as popular this run (in terms of audience share) as ever before but the fact is that everyone knows ITV have money problems and they’ve decided that whatever drama budget they’ve got left is better spent after 9pm. It’s a great shame as Primeval was bringing new viewers to ITV who will now only be served by the BBC, but there’s nothing we can do about that.
This got me thinking. Obviously making drama is expensive. Especially most of the stuff I like which features cylons, smoke monsters, dinosaurs etc. But it makes me wonder - are genre audiences drawn to the production values or the ideas that make a science-fiction show?
I guess my question today for all of you genre fans is do you need special effects and crane shots to enjoy your science-fiction? Would you watch a sci-fi show if it only had the production values of a long-running soap? If an exciting concept could be created with minimal locations, relied on dialogue and good acting to tell its story, would it find its audience?
Does Science Fiction need to be so expensive? Let me know what you think.
Thursday, June 11th, 2009
Pitching Pet Projects
I’ve sent two TV drama pitches off this week. One idea is brand new, the other is probably my oldest idea that I actually think is any good. But the fact I’ve been working on it for years makes me raise the following question…
When do you let an idea die?
My friend Tom who drew me this cool picture for my pitch (check his other cool pics here) has always liked the idea. So has my brother, my girlfriend and all of the people you would expect to be on my side when I present them with my typed-up drivel. But interestingly, so have half the production companies and producers who’ve read it. So why haven’t you seen it on TV yet, you might ask?
Well, it’s because I’m not a good enough writer. Now, that might sound like the sort of self-pitying self-deprecation that drives my lovely other half Heather into one of her violent rages (which I probably deserve…because I’m so rubbish 
) but it’s true. But I’m also a NEW writer and I feel that every script I write is technically better than the ones that came before it (give or take a few awful ones, obviously!)
But readers, producers etc have liked the characters, tone and central concept of the series. It’s something that stands on the shoulders of a few other shows but I don’t think I’ve seen elsewhere before. More importantly, it’s something that I really WANT to see on television and I think that it shows in my scripts for it.
I just haven’t gotten that script quite right.
So I don’t feel like I’m ice-skating up hill as I think the idea, however offbeat, is one that has caught people’s attention. I just haven’t convinced them that I can pull it off with the sample script I provide. Yet. But that’s why I keep trying. Alternatively, maybe someone’ll like the idea enough to hire a proper writer to do the scripts …oop, better go. Self-deprecation Police want a word. Wish me luck!
Friday, June 5th, 2009
POLL: Procedural vs Serial
I have an idea for a TV show. Alright, I have several - but there’s one that’s been gestating and evolving for a few years. It’s my favourite and I think it shows. It’s the one whose treatment gets me more meetings and whose pilot script gets me further through the door. But not quite far enough. It’s not quite ready. But I’m working on it
When pitching, do I emphasise more what will happen in each episode? Or the goal the series is making its ways towards? I know the best shows combine both but which side of the fence do they fall on to really sell themselves?
I enjoy watching The Mentalist when I remember it’s on. But the fact I don’t make a point of being in front of the television when it is on probably says something about its episodic format not ensnaring the viewer. Last night’s episode was billed by Channel 5 as ‘must-see Mentalist’ as it gave new clues in protagonist’s ongoing torment at the hands of serial killer ‘Red John’. However, having been thrown a few crumbs, I now know it’ll be at least a few more episodes before I get my next measly morsel.
On the other hand, for me House is must-see television every week - providing Gregory House himself is in it. But I know he’ll mis-diagnose the patient at least twice (usually just before the ad breaks too) but that’s not why I watch it. It’s down to the charactors. Is that the acting and writing? But how much of that was in the initial pitch? What was there in the format that hooked the commisioners or its audience?
Oh look. He’s using Lost as an example again Yup, that’s right. I know that answering questions with more questions isn’t to everyone’s taste. But while those viewers got bored waiting for answers, I think the others thrive in being trapped in the purgatory. Will the final revelation ever be as good as the mystery?
In terms of serial arcs, I think Six Feet Under did a pretty good job of using its story/body of the week to push forward the ongoing arcs. But are a lot of the more serial shows also ensembles? That way, in every episode, someone story will always have a beginning, middle and end whilst the other characters are still in their sprawling purgatory (see Lost again).
Procedurals get more viewers in repeats but Serials sell far more DVD box sets and other merchandise. Procedurals encourage new viewers whereas Serials encourage viewer loyalty (and hardcore geekery ) So in pitching my own TV project, should I err on episodic or ongoing storytelling?
Of course the best answer would be ‘a bit of both’. But even the most acclaimed series seem to lean towards one or the other…
POLL: Think of a favourite TV show (just the one). It probably mixes both serial and episodic story strands. But what keeps you coming back? Please vote below and let me know in the comments which series you’re thinking of.
Loading ...Thursday, June 4th, 2009
Scripting with Directors
Doesn’t matter whether they’re hands are both full of Oscars or grasping empty-handed for an angora sweater, as a writer the director is your boss.
Particularly in the world of film and short film, the director is overlord. You are but the word-monkey. However, having a director in your corner while you’re writing is a tremendous ally to have on your side. I’ve worked on a few projects with directors right from the beginning or they have approached me or I have approached them with an initial pitch/first draft and built it from there.
But as with any collaboration, things can get lost in translation so here are a few thoughts on working with the person who may one day make your film…and maybe your career!
1. Get them to TELL you the idea. Not the whole plot, just the basic story in three or four sentences. Beginning, middle and end. If it’s their idea, this will help you understand what they think is the most important spine of their story. And if it’s your idea, this will reassure you that they understand what you have in mind. Don’t just let them give you the script and make you guess.
2. What bits can they already imagine? Following getting the story straight, whether it’s your idea or theirs, let them talk about what they can already see clearly in their head. Chances are these set-pieces, scenes, moments of suspense or visual motifs are the bits that could easily translate from script to screen.
3. What other films is it like? It’s easy to throw around buzzwords like dark, gritty and muesli (okay, that last one might be me-specific) but using existing movies that you’ve both seen (and like!) is a good short-hand.
4. How do they want the audience to feel? Especially with film, nailing the audience at the end is all-important. So do you and the director agree on how you want the audience to feel when they’ve finished watching?
5. How do you like your notes? Work out the best creative process for the back and forth of various drafts. For example, I think it’s better to start with more ‘headline’ notes in earlier drafts (eg- ‘this character is a bit dull’ or ‘the first act is a bit slow’) and then move into comments on specific scenes or lines of dialogue. I once had a 1st draft back from a producer with notes on every page but none relating to the actual story or characters. Not helpful.
6. Work on the pitch together. As a writer, writing supporting material is usually left to me. But producers aren’t hiring me. They’re buying my idea. It’s the director they’re hiring and trusting with their money. Make sure that the director does their share of the pitch work as, ultimately, they’ll be the one selling the idea as well as being one of the selling points themselves. Their take on the script is what will make this film theirs!
It can be very rewarding to have a collaborater in the early stages but who isn’t a co-writer. But if it all falls apart between the two of you, you can always BOTH become writer-directors and have some sort of constant, competitive movie feud
Wednesday, June 3rd, 2009
I want to see ‘MOON’
Maybe I should wait until I’ve actually seen it before blogging about it but I’ve been anticipating this ever since Jonathan Ross mentioned it as a Silent Running -style British Sci-Fi back on Film 2008 and the resulting buzz at the Sundance Film Festival. Never in my life do I want to be one of those arses who tells you what ‘proper’ science fiction really is - but, in my opinion, Silent Running shows off one of the things that science fiction does really well!
I think MOON’s tagline ‘The last place you’d ever expect to find yourself’ says a lot. Plus… it has a robot!!
Director Duncan Jones says:
For me, the Moon has this weird mythic nature to it… There is still a mystery to it. As a location, it bridges the gap between science-fiction and science fact. We (humankind) have been there. It is something so close and so plausible and yet at the same time, we really don’t know that much about it.
Sam Rockwell has impressed me since Heist and Confessions of a Dangerous Mind. Kevin Spacey (who voices robot GERTY) only seems to choose projects that really interest him since he started loving life at the Old Vic. Plus the film also features The IT Crowd’s Matt Berry. Colour me intruiged!
Watch the trailer here or check out its current 100% approval rating on Rotten Tomatoes. Can’t wait - any other takers?
…..
Also, Duncan Jones was running a sci-fi photo competition via his twitter account through which I received the below signed poster with my shot of the ships from Close Encounters playing in the snow
