Stuff to Do

Okay: I'm going to dizzy everyone now by doing two blog posts in a week, when it's lately taken me a month to get up to that count...

As you'll know, I've been working on the latest draft of my feature for Full On Films (probably, after Cannes, I will be able to talk about the content of the script a bit more, maybe even release the title - I'll have to check with the wonderful and redoutable producer-director of the project, Mark Jay). There's lots of support for the development, and lots of interest from potential partners in the production. And both Mark and I are very happy with the shape of draft 2. There's now a bit of down-time before Mark and I meet with a script executive appointed by Screen South and resume revisions. I've got lots of things planned for this time:

1) Book a ticket to the Screenwriters' Festival in Cheltenham - Hooray! Did this last night. I'll be one of the Travelodge posse for a second year running.

2) Apply to the Lighthouse/Skillset 'Guiding Lights' scheme. Boo! The initial commitment for this requires one to be in London on July 1st and 2nd. Unfortunately, those are the first two days of the Screenwriters' Festival (See point 1 above). It's frustrating that two big events and opportunities for writers are clashing, and if it weren't so close to the deadline (which is this coming Tuesday) I'd write an email to them pointing this out. As it is, it's too late. Good luck to anyone who's going for it. I will have to wait and hope that they run it again next year.

3) Apply to the BBC Writers' Academy. Oh Yes!

4) Review a contract. A very talented director with a production company wants to option one of my screenplays. Very excited. Keep everything crossed for me - I'll post more when there's more to post.

4) Resume work on the half hour screenplay that I'm working on with Lou Birks.

5) Resume some pieces of spec work - I've got a radio play that needs one more draft to polish, a short film that is still just a pile of notes and thoughts and needs to be flung hard at a piece of paper to see what sticks. Plus, a feature script I've used - quite sucessfully - as a calling-card, should really be made one of these days. I got some feedback reports on it last year, which I should use to do another draft.

6) Read people's blogs, post comments, send some emails: let people know I'm still alive.

That's quite a lot to be going on with, and I still have to post about last week's Q&A with Matthew Graham and Ashley Pharaoh, and do a little '1 year on' bit to celebrate reaching my first blog birthday. I better start work then...

Six degrees of Kevin Bacon. Mmm.. Bacon.

Not much to post about currently. I'm just working away on various things: mapping out the storyline for the Lou Birks short; got a meeting about draft 2 of the feature this week with producer-director Mark Jay (Mark just had a sell-out Cineworld screening/Q&A of his film 'Dolphins', which he wrote and directed. Kudos to him!); and, another director wants to option one of my screenplays - fingers crossed for that.

Idle musings meanwhile: I caught up the other week with the Extras Christmas special from my newly-purchased replacement PVR, and noticed in the credits that the make-up and hair was done by the wonderful Lisa Cavalli-Green, who also worked in the same capacity on the short film what I wrote, 'Lent'.

This means, trivia fans, that I am only two degrees of separation from Ricky Gervais. And therefore three degrees of separation from anyone he's ever worked with in Celebrity 'I'm not like this really, or am I?' cameo-stylee. Imagine - me and Samuel L Jackson, we're like that. And David Tennant too. Ooh!

Now, if only there was some way to turn this to my advantage. But, dear reader, I fear there is not.

Scratch

Writing is an odd profession/obsession, isn't it? I met with a director, the fabulous Lou Birks, last week to discuss a project we are developing together. It's a ten minute long dramatic short, which I've done three drafts of, over the last few months. And it's not quite working.


Lou and I discussed the issues we both had with how the short was shaping up. Luckily, we both had come to exactly the same conclusions. We decide not only shall I do a page one rewrite, but also that length might be counting against us. The material fits nicer within 30 minutes, rather than 10. More running time gives it a chance to breathe, the backstory can be delivered at a better pace that doesn't feel like overload, and the tension can really be ratcheted up.


And I leave the meeting really energised and happy. Despite the fact that I've just agreed to three times as much work, and I'm starting from scratch. There really is no business like this, is there?!