Sunday, 18 November 2007


No posts for a while. Apologies - work on the feature screenplay for Full On Pictures has resumed. I'm working on the revisions to the first draft at the moment, and met with the producer Mark Jay mid-week. It was a great meeting: there's some strong interest from production companies, so Mark and I have a busy time of it over the next few weeks getting the screenplay as good as it can be, and then getting it out there.

Meanwhile, all the short films I'm working on are progressing nicely too. The director of 'Santa Baby', the wonderful Colin Stevens, has managed to get the script to an actor who would be perfect for the lead, and to his production company. Fingers crossed that he likes it.

And it looks like the sound problem in 'Lent' has finally been fixed, and over the next week or two, the producer Ricci-Lee Berry will be putting together our agreed distribution list for 2008, and applying for Film Council distribution funding. With luck, and selection, 'Lent' should be playing a festival near you very soon. I'll obviously keep the posted with any updates.

Thursday, 8 November 2007

The Twenty Questions Meme

Okay - this is obviously a displacement activity, but hey! - that's the name of the blog. Here goes:

1. Do you outline?
Almost always. I have been known to rush into a short film, not knowing where the journey will end up. But for anything longer I like to have a map, even if I decide to go off-road someway down the line. (I’m bailing out of the motoring analogy at this point.)

2. Do you write straight through a script, or do you sometimes tackle the scenes out of order?
I plough through roughly from start to finish – occasionally this entails leaving a scene and coming back to it later.

3. Do you prefer writing with a pen or using a computer?
Both. I spend a lot of my time in trains, and I like to work with pencil and paper when on the move. Then I get home and type it all up.

4. Do you prefer writing in first person or third?
I only work on screen/radio plays, so third person is a given. I wonder what the average script reader would make of a screenplay written in the first person. I’m almost tempted to try to write one. Almost.

5. Do you listen to music while you write?
Sometimes. Usually at the start of work when I’m trying to get to the right level of concentration. When I achieve the right level of concentration, I get irritated with the music, and switch it off.

6. How do you come up with the perfect names for your characters?
To quote the late, great Douglas Adams: “If you have trouble with character names, you’re probably using the wrong kind of coffee. Try an Italian blend.”

(I don’t really know what he was talking about either, to be honest.)

7. When you’re writing, do you ever imagine your script as a book/short story?
No. But I often imagine it as a movie. That’s been made. And won me an Oscar. You’ve got to get through the day somehow.

8. Have you ever had a character insist on doing something you really didn’t want him/her to do?
Occasionally things end up going a different way to how I expected, but it never feels like the character is gaining their own autonomy. I think that phenomenon’s a little bit of exaggerated mythologizing about the creative process.

9. Do you know how a script is going to end when you start it?
I refer the learned gentleman to the answers I gave to 1 and 8 above.

10. Where do you write?
On the commute to the day job, and at home.

11. What do you do when you get writer’s block?
Write. (Someone once said: Writer’s block is nature’s way of telling you you’re not a writer - a bit harsh, maybe, but I broadly agree with it.)

12. What size increments do you write in?
Size doesn’t matter. It’s what you do with it that counts. Ahem.

13. How many different drafts did you write for your last project?
My last short film went through seven drafts, and two further sets of revisions.

14. Have you ever changed a character’s name midway through a draft?

15. Do you let anyone read your script while you’re working on it, or do you wait until you’ve completed a draft before letting someone else see it?
For a spec script, I’d finish up before I showed anyone. For a commission, I’d provide pages to my producer whenever I was asked.

16. What do you do to celebrate when you've finished a draft?
A glass of wine is customary.

17. One project at a time, or multiple projects at once?
I have lots of things on the go, but I can only sit down and do a draft of any one of them at any time, or I’d never get anything finished. (I’m a man, I can’t multitask, apparently.)

18. Do your scripts grow or shrink in revision?
Sometimes they grow, sometimes they shrink. But let’s not discount the possibility of a new draft being exactly the same length as the previous one too. It could happen!

19. Do you have any writing or critique partners?
Never worked with a co-writer. But there are a lot of great folks out there in the Scribosphere (hello!) who have reviewed my work in the past.

20. Do you prefer drafting or revising?
You've got to learn to love both, I think. But nothing beats the feeling of starting out on the first draft of a new project.

Monday, 5 November 2007

"You'll never look at a truncheon quite the same way again!"

Event: "Imaginary Worlds"

Date: Thursday 1st November 2007

Venue: The Guild Centre, King's Cross (not in the usual large conference room, but in the smaller area normally used just for networking - sadly the event seemed a bit undersubscribed.)

The Set Up: Panellists were Phil Ford (PF) writer on The New Captain Scarlet and The Sarah Jane Adventures, Ashley Pharaoh (AP), co-creator and writer of Life on Mars and Ashes to Ashes, Adrian Hodges (AH), co-creator and writer of Primeval, and Phillip Palmer (PP), author of SF novel Debatable Space. Questions came from Edel Brosnan (EB), Chair of the Guild's Editorial and Communications Committee.

The Questions, The Answers:

Q. What was it that drew you to the 'imaginative' in your work?
PF: Simply, it's what I always wanted to do. I'd always read science fiction, and always loved the movies. It's great to create a fascinating new world, where you can turn things on their head; as long as you ground things - it has to be about people and relationships. If anything can happen, it doesn't make for good drama.
AP: I fell into it, really, via the premise to Life on Mars. I'm a recent convert, but really really enjoying it.
PP: I've never had a plan - every plan I've ever had has ended in disaster. When I wrote for TV, I went with what was there, which was shows like The Bill. Nick Elliott, ITV drama controller, once told me "We don't make science fiction, we don't like science fiction", so I never tried to pitch those projects in TV. I had a movie that didn't work out, but I rewrote it as a novel, and ended up with a three-book deal.
AH: I'm not so much a fan of science fiction, as I am a fan of a good story. I remember seeing a BBC drama in the early 80's,The Flipside of Dominick Hide, and thinking it was a love story, but told in a wonderfully fresh way. The same was true of Alien, which was at heart a thriller, and so on.

Q. Now that the genre has been revitalised, thanks to shows like Doctor Who and Life on Mars, do you see things going to back to how they were? Is this a fad, or is it here to stay?
AH: I don't think we can go backwards now - the audience has been awakened. Shows will only do well, though, if they're character driven.
PF: It's about stories, and it's about people. It's a shame that commissioning execs didn't realise this - they just hid behind the excuse that SF was too expensive.
AH: It's not a genre that's ever been considered posh.
PF: You can do these stories without many or any special effects.
AH: But technology has played it's part.

(The panel took a few minutes here to recommend a 90's SF serial from ITV, The Last Train - written by Ashley's sometime creative collaborator Matthew Graham - which used very few special effects. The consensus was that it really should have got a second series, and if you get a chance to watch it, do.)

Q. Are writers outside of the genre resistant to it?
AP: A prominent writer criticised Life on Mars in a newspaper, and I responded to that criticism. He thought that the point of writing was social realism, or social upheaval, making changes. But we've had fifty years of that.
AH: There are writers, and commissioning execs that are resisting, but it's always been that way. If you look at Nigel Kneale, he always occupied an odd place - it's always been an uneasy thing. Perhaps it always will be.
PP: There's a quality of imitation in British TV -
AH: Not just British TV.
PP: Just repeating things that have been successful. One detective drama is good, but by the time you've got wall-to-wall detective dramas, you just want to scream. The challenge is getting some variety in there.

Q. How are things different when writing novels?
PP: It's different from TV where fantasy /sci-fi is still something of a dirty word.

Q: All of the shows that you do are different - how would you define the genre?
AP: Anything that isn't social realism. Anything where you get a heightened response from the audience. I've never written a show before that had fan websites. Or where fans have been writing slash fiction. (Another pause here while slash fiction was explained to the uninitiated in the audience - see the wikipedia entry for a full definition.) After reading some Life on Mars slash fiction, you'll never look at a truncheon quite the same way again!
AH: I wouldn't dream of defining the genre, but the level of engagement, to praise or to criticise, is huge. It's a great thing to see.

Q: Phil, you've worked on Torchwood, and the Sarah Jane Adventures. Is there a different approach for pre- versus post-watershed SF drama?
PF: I think you instinctively know which sort of stories are suitable for which. It certainly didn't worry me going into it. With kids shows, you've got to be careful. You can frighten kids; it's exactly what they did in Fairy Tales, but you mustn't terrify them. That's the line you don't cross. And it's always possible to get it wrong - one of the episodes of Captain Scarlet I wrote was deemed too extreme, and was never made.

Q: Adrian, as well as your SF work in Primeval, you have done a lot of historical dramas, for example Charles II, The Pride and the Passion. Are there similarities in approach between the two?
AH: Someone clever once said: ”You can’t reproduce the past, you can only reinvent it.” A realistic portrayal of Charles the Second’s time would be truly alien, and wouldn’t be understandable by a modern audience. So, you’re dealing with a reinvented world. These genres aren’t as far apart as they’re perceived to be, just different ways of telling a story.

The clips & the reading:

Ashley Pharaoh showed a clip from Life on Mars, Series 1, Episode 4: Sam Tyler has a girl in his care: she spikes his drink, seduces him, and leaves him chained to his bed with a pair of Police handcuffs. Gene Hunt finds him the next morning, much to the hilarity of the rest of station.

AP: Everything in that clip stems from the original premise (a 21st century cop trapped in 1973) and I loved writing it. Not to be too pretentious or anything, but it’s closer to poetry when you get it right. But it took seven years of pitching to get it to screen, and that was a very painful process. I explained to one exec that it may all be in the central character’s head, or he may really be back in time. He said: “But that’s ambiguous”. “Well….yeah!”. People didn’t get it. In fact, we were told many times “Don’t do it – careers will end if you do this.” But John Yorke developed it with us, first at Channel 4, where it almost got green-lit, and then at the BBC. If you wait long enough, things will change – Doctor Who came along, and Lost, and that paved the way. I think we only got through the dark times because there were three of us - just when one person’s enthusiasm was flagging, the other two would remind him what was exciting about the project.

Q. What about the planned American remake of Life on Mars, by David E Kelly?
AP: They need a show to provide 60 episodes in America. You can’t keep a mystery of whether someone’s in a coma going for that length of time, so they’ve dropped the metaphysical aspect, and ramped up the comedy in its place. I don’t know if it’ll work. It shows that there is a strength to having short runs of shows, as we do here, as it allows you to tell more intense stories.

Phil Ford showed a clip from The Sarah Jane Adventures: The Eye of the Gorgon. Maria’s Dad has been turned to stone, and his estranged wife – thinking this is a statue of her ex – tells him what she really feels for him.

PF: This is what I meant by grounding SF in reality, here the reality of Maria and her family. In fact this was the first scene to be written – I knew in a gorgon story that someone was going to get turned to stone, and that someone would mistake them for a statue. The rest of the story flowed from there. It gave us a nice opportunity to find out how a character ticks – a nice emotional scene in an action-packed story.

Phillip Palmer read from Debatable Space. A very funny excerpt where the hero Lena, a 900 year old woman who was born in our time, has been kidnapped, and is being held by flame-beasts – highly intelligent creatures composed entirely of flame. She ponders her predicament, and some of the changes she’s seen in her long lifetime.

PP: That’s from the other end of the scale – the furthest extreme, space opera.

Audience Questions:

Q. How much do you think about budget?
PF: I don’t think about it all for the first draft. I let other people tell me afterwards if things can’t be achieved.
AH: It’s best not to self-censor. And the costs of CGI, for example, change all the time – you don’t know what you can or can’t afford. A herd of rampaging velociraptors might be achievable where two men talking in a car might be expensive!

Q. How difficult is it to pitch hard SF?
AH: It is harder. A show like Heroes plays on ABC and gets loads of viewers. Battlestar Galactica plays on the sci-fi channel and gets much less.
PP: On TV, SF has to come packaged with another genre.
PF: Yeah. IF you remember, the first season of Doctor Who was almost as much soap as sci-fi. Over the years, the sci-fi elements have built up – it’s the Trojan Horse approach.

Q. How easy is it to find an agent as a screenwriter specialising in fantasy?
AH: Don’t use the word fantasy if you’re worried.
EB: People want to see good writing, irrespective of genre.

Q. American SF was huge for years – what are the differences.
AH: Budget.
EB: There aren’t so many differences. The US loves Brit sci-fi – Heroes, all Joss Whedon’s work, Alan Moore.
AP: George Lucas is looking for British writers to work on the Star Wars TV series

And just to round off the evening with an exclusive, Ashley proceeded to tell us of two particular writers who have been invited to the Skywalker ranch for discussions about this. I’ve omitted their names as I don’t think it’s public knowledge yet!

Value for Money?: Guild events are always good value for money. Join the Guild! As usual, the event was followed by networking with wine and nibbles provided. All the panellists stuck around to talk. But the best part of this was that - having been to enough recent talks about pushing forward one's career - this was simply about celebrating good writing and good writers.

Sunday, 4 November 2007

The Lame Meme (and info about Pilot)

A meme is doing the rounds, and Blogful Martin has passed it on to me. Five things that I like that other people might find lame:

  1. Strictly Come Dancing. I am addicted, and have been for the last three years.
  2. Teen comedies of the Eighties. John Hughes rocks.
  3. Crying at movies / TV. I am a sentimental, soppy sod. To my shame, At the recent Guild sci-fi event, a clip of the Sarah Jane Adventures (an emotional clip, okay?!) was shown, and I was holding back the floods so as not to embarrass myself in front of a group of strangers.
  4. Heartbeat. I would love to write for it. It's great entertainment and perfectly pitched at its audience. And it's back next week.
  5. I'm so lame, I can't think of a fifth one.

NOTE: tucked away in the comments of my last blog posting, Phill Barron has brought up a point I'd also recently heard about the Channel 4 Pilot scheme - it doesn't pay very much. The payment for the eight-week training period is £100 per week, and accommmodation expenses are not claimable.

This is good for me, as it decides whether I'm going to enter something or not. I'm not - I can't afford to. And I didn't really have time anyway. Onward and upward...

Saturday, 3 November 2007

The First Draft is done!

A mad week. On Halloween night I was working right up to the wire on the screenplay, and finally e-mailed it to Mark at 11:55pm. He's on the West coast of the US, though, so he got it a few hours ahead of the deadline! I'm pretty pleased with it, and looking forward to Mark's notes.

I also went to two events at the Writers' Guild, which I'll write up in due course. After each one there were major train problems so I didn't get home until gone midnight both times. Then I was up at Six to get to the day job, where I've had two projects coming up to deadlines too. I've been running on empty for days now, and have spent most of today sleeping.

Now, I've got a very short hiatus before resuming work on the feature, where I can think about putting something together for the Channel 4 pilot scheme, if I can find the energy!