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Shout out to Matthew Dressel long time contributor to SimplyScripts.
Joel David Moore, Bob Saget, Jason Jones, Carly Chaikin & Mary Lynn Rajskub To Star In Comedy ‘Blue Iguana’, First In 3-Pic Cayman Islands Deal — EFM
Blue Iguana will shoot on the island of Grand Cayman starting March 8. Directed by Canadian filmmaker Jeremy LaLonde (James vs. His Future Self), the pic is scripted by Matthew Dressel (You Tube comedy series The Pilot is Dead).
Read the rest of the article.
Last, for now, in a series of interviews by award winning screenwriter Anthony Cawood who runs the excellent script resource Screen Writing Opportunities with the creators/CEOs of script sites that attempt to match screenwrites with others in the film industry.
This is not an endorsement by SimplyScripts, but rather we’re just trying to lay out what information we have so you, the writer, can make a well informed decision.
Nadira Azermai, CEO of ScriptBook.io. ScriptBook‘s mission is to democratize the business of storytelling through the art of AI.
Please read the interview with Nadira Azermai on Screenwriting Opportunities.
Discuss the service on the discussion board.
Update – 6/14/20 – Discussion of one users experience with ScriptBook.io.
About The Interviewer: Anthony Cawood is an award-winning screenwriter with one feature produced and a further four features optioned or in pre-production. In addition to features, he has over forty short scripts produced/sold/optioned – including ten filmed. Also occasionally pens screenwriting articles, interviews with writers and filmmakers, and even a short story or two. He can be reached on his website AnthonyCawood.co.uk.
Upcoming over the next week or so, SimplyScripts will be featuring a series of interviews by award winning screenwriter Anthony Cawood who runs the excellent script resource Screen Writing Opportunities with the creators/CEOs of script sites that attempt to match screenwrites with others in the film industry.
This is not an endorsement by SimplyScripts, but rather we’re just trying to lay out what information we have so you, the writer, can make a well informed decision.
Choukri Ben Meriem is the Creator/CEO of TheMavericksOfCinema.com. Mavericks of Cinema is a relatively new site that is hoping to help connect actors, directors and screenwriters with producers looking to create.
Please read the rest of the interview with Choukri Ben Meriem on Screenwriting Opportunities.
Discuss the service on the discussion board.
About The Interviewer: Anthony Cawood is an award-winning screenwriter with one feature produced and a further four features optioned or in pre-production. In addition to features, he has over forty short scripts produced/sold/optioned – including ten filmed. Also occasionally pens screenwriting articles, interviews with writers and filmmakers, and even a short story or two. He can be reached on his website AnthonyCawood.co.uk.
We continue to feature a series of interviews by award winning screenwriter Anthony Cawood who runs the excellent script resource Screen Writing Opportunities with the creators/CEOs of script sites that attempt to match screenwrites with others in the film industry.
This is not an endorsement by SimplyScripts, but rather we’re just trying to lay out what information we have so you, the writer, can make a well informed decision.
Uri Singer, CEO of TaleFlick.com. TaleFlick is a platform that connects the entertainment industry directly to your work.
Please read the interview with Uri Singer on Screenwriting Opportunities.
Discuss the service on the discussion board.
About The Interviewer: Anthony Cawood is an award-winning screenwriter with one feature produced and a further four features optioned or in pre-production. In addition to features, he has over forty short scripts produced/sold/optioned – including ten filmed. Also occasionally pens screenwriting articles, interviews with writers and filmmakers, and even a short story or two. He can be reached on his website AnthonyCawood.co.uk.
Upcoming over the next week or so, SimplyScripts will be featuring a series of interviews by award winning screenwriter Anthony Cawood who runs the excellent script resource Screen Writing Opportunities with the creators/CEOs of script sites that attempt to match screenwriters with others in the film industry.
This is not an endorsement by SimplyScripts, but rather we’re just trying to lay out what information we have so you, the writer, can make a well informed decision.
First up is: Christopher Parker, the CEO of StoryData.io, a relatively new script hosting site that is hoping to help connect screenwriters with producers looking for scripts. Story Data is a platform designed to help writers connect with industry professionals that are looking for their stories using advanced technology.
Please read the interview with Christopher Parker on Screenwriting Opportunities.
Discuss the service on the discussion board.
About The Interviewer: Anthony Cawood is an award-winning screenwriter with one feature produced and a further four features optioned or in pre-production. In addition to features, he has over forty short scripts produced/sold/optioned – including ten filmed. Also occasionally pens screenwriting articles, interviews with writers and filmmakers, and even a short story or two. He can be reached on his website AnthonyCawood.co.uk.
TV Writers Vault founder and producer Scott Manville (Relativity TV, Lifetime TV) shares with Simply Scripts advice on creating binge-worthy characters for TV and premises palatable enough to binge on:
When screenwriters labor to develop their movie scripts, conjuring “what if’s” and plot twists to fuel the story, it’s driven by a need to bring clever closure to the movie in under two hours. When writing a TV pilot script or pitch treatment, the story demands a whole spectrum of choices that must deliver longevity for the series. In our exciting landscape of binge-worthy TV series, think of it as taking your TV show idea and writing it as a 13 hour movie script with powerful and compelling plots, unlikely heroes, and ironic wrinkles in the story. When a TV Writer is creating and writing their pilot script, it’s not just what’s printed within those 30-50 pages that engages the reader and lands a deal. It begins with the power of the original idea for a TV series, and then fans out with every choice of character and story. From concept, to character, to clever twist…they all must drive the story to deliver longevity with escalating stakes, and a heightened reality within the world of your TV series.
The most exciting aspect of that challenge is that a creator writing TV scripts faces expectations from today’s audiences that force them to make extraordinary choices for plot and character. We’re in a golden age for storytelling in television, with hit series of unparalleled quality we used to only see in theatrical films. Even more exciting is that unlike film where early storylines and plot develop slowly, in television we’re dropped into a series as if it were the second act of a film, with plot and plight often hitting the ground running, pulling viewers in who eagerly give a willing suspension of disbelief, binge watching the series to see what happens next so they’ll better understand the protagonist and their plight. Take advantage of this as as a creator. You’re not just punching out TV scripts that are easily digested, and seem to work, or that sound clever. Make bold choices in every aspect of your writing.
Keep these 5 things in mind when writing your TV pilot script, or TV series idea. Each of these factors will fuel the other, as they’re all related, but you’ll want to be mindful of each.
“Knowing how to pitch a TV show means knowing how your original core idea fuels all aspects of the series.“
The first and most important element in the process is conception. Creating that “Idea” that is the premise and plight for the main characters in your TV series. Choose the genre, subject, and world that hasn’t been explored yet, and establish the right components to create chemistry and conflict. Producers and viewers look for stories and worlds we haven’t seen before. Even within subjects we’re already familiar with, your core TV series idea must have some original hook that makes us want to experience that world and its characters. It’s all about the premise and plight. Look for social issues within the main character’s life that people can relate to today, but take it a step further by “flipping” the expected circumstances so the story and character’s have more dimension. Knowing how to pitch a TV show means knowing how your original core idea fuels all aspects of the series. When the premise and plight are highly original, the story writes itself to a large degree.
“Look for the contradiction in their behavior and create circumstances and scenes that fuel that.“
The reason we love entertainment and story is because it helps us explore and witness the human condition. Great actors know how to make choices that bring characters to life. Their choice of reaction, behavior, clothing, props, movement, and all things unwritten are the choices they make to help communicate the person they’re playing. To every rhyme, there is a reason. As a screenwriter, the choices you make will bring your protagonist and story to life. Examine your characters as an actor would. Ask yourself what your characters life experiences are that drive their choices and actions that ultimately drive the story. When you know the roots of your characters, you’ll have truth that fuels your choice of storyline and scenarios. Look for the contradiction in their behavior and create circumstances and scenes that fuel that. Find the flaw in the hero, and the redeeming qualities in the antagonist. Know what they want versus what they need. When you understand your characters you can make strong choices, and the tapestry of your TV series is woven tighter and becomes more brilliant when examined from all sides.
“Viewers tune in because they want to experience a heightened reality- witnessing what is possible, instead of what is probable“
As a screenwriter, the ability to write realistic and plausible scenes can easily lead to scenes and moments written that may be true to life, but are ultimately just boring filler. Viewers tune in because they want to experience a “heightened reality”, witnessing what is possible, instead of what is probable. Each of the other items mentioned feed right into this; The protagonist’s plight, the irony of their character, the core idea and premise for the series, and every choice of character and story you make. But the one thing to keep at the forefront of your mind when conceptualizing to fuel a heightened reality for story is the “imaginary what-if”; What if by unexpected circumstances the protagonist was forced to do something completely against their own moral fiber? What if the protagonist isn’t who you think they are? What if the villain becomes the unlikely hero? Look at the pivotal moments in your story and take them to the next level for a heightened reality. These are often the moments that define and reveal your characters.
“Grab ’em by the throat, and never let ’em go.“
The intention of each character, and the obstacles they face, is your story. In a TV pilot script this needs to unfold immediately. What your character wants, and the opposing force of what they’re up against, are the ingredients that fuel the conflict and create your scenes. Again, make strong and unexpected choices. This is the most important facet of your story and episode. When the protagonist’s intention is strong and born from an intensely personal cause, and the obstacle they face threatens their success or survival, then you have high stakes that will grab the emotions of the audience. Legendary screenwriter Billy Wilder once told Cameron Crowe about keeping the audience engaged- “Grab ‘em by the throat, and never let ‘em go.”
“When you have specific resolution to the series in mind, then you’re able to make stronger, poetic choices within the earlier life of the series“
One might think that having a definitive end to a series planned ahead of time would inhibit the life of the series. And some may argue that the life of a series should be able to go on and on. I argue that when you have a specific resolution to the series in mind, then you’re able to make stronger, poetic choices within the earlier life of the series that will both drive that agenda and create a better set-up that leads to a more powerful conclusion. It doesn’t have to be black and white, but knowing where the main protagonist will end up, will help you make stronger choices with all other elements in your story that lead us through the series.
Learn more about how to pitch a TV show pilot script, and visit Scott’s Blog for direct discussion of this and other aspects of writing and pitching for TV today.
Many times I hear writers say they are stuck or are in a writer’s slump, because no ideas are coming or they don’t know what to write. They want an original idea for a film or some writing project that nobody has ever seen before. They want the next great original idea that rocks the film world. Some of them will wait for years for that inspiration for the next great project that will bring them fame and glory.
Now… you might get angry with me for saying this, or you will probably vehemently disagree, but I don’t think this should be your goal. Of course it can be a dream that this happens, but most likely the story in some form has already been told before. Don’t sweat it!
Really, I’m not kidding with you. Don’t let it prevent you from writing. Just write… let the words just flow out of you. Edit it all later. Write gobble-dee-gook, write crap, write anything. Just! Write! You can worry about judging it after you are finished.
When you are done you can go back and create a story that will inspire you to make a film of it. Think of it this way… You are a sculptor starting with a huge block of stone. This is your “gobble-dee-gook”. Then begin to slowly carve away the stuff that you don’t need. Carefully reveal the story you want to tell. In the end you will have something that you will be excited about putting on film. So what I am trying say here, as succinctly as I can, is don’t be obsessed with telling an original story or have an idea that nobody has thought of before. Because ninety-nine times out of one hundred… it’s been done before.
I make short films. I enjoy shooting them and making them. But I am not under any illusion that these short films will make my career. I have two full feature scripts waiting to be done. I am using my shorts films to open doors and to gain experience on the set. Period! 99.99% of short films will never make money or be commercial. They are only a means to an end.
A short film is merely a “means to an end”, to get someone to ask you this: “Do you have any feature scripts that I can read?” To generate interest in you and what you have written. So here is a saying that I have come across many times… Always Be Writing.
Here is another way to look at this: Treat your writing, or other creative work, with the same kind of respect you have for your family doctor or dentist. Doctors and dentists have studied hard for years and treated their work with respect and care. So should you.
If you treat your writing with disdain and laziness, or as a lah-dee-dah creative artist that will get to it “when inspiration strikes”, then shame on you. Because all you are doing is confirming to society that artists are all flaky and emotionally high-strung…and that we are ultimately disposable as paper in an outhouse. And to quote a line from Bruce Willis in Robert Rodriguez’s “SIN CITY” – “There’s wrong, and then there’s wrong, and then there’s this”. And I don’t say this to be flippant, it’s just that artists are treated so badly, I want to stop this the best way I can.
Exercise: For the next three weeks, set your alarm clock early in the morning and spend ONLY 15 minutes each day writing!! Something…Anything…Just write! Don’t look at it and judge it as being either good or bad. That is not the exercise. The exercise is to try and create a HABIT of writing. Like you go to your job. It is an attempt on your part to train your body and mind for just 15 minutes each day to take your writing seriously and just write. And for those of you with the excuse “I don’t have time”… then here is another saying that I really love. TIME IS MADE, NOT FOUND! – You make the time by prioritizing it and writing. Simple as that!
About The Author: John Montana is an actor living with his wife in L.A. and has begun to make short films. His most recent film, Hungry has been accepted into 24 film festivals all over the world. Check out his short films at No Title Production Films.
Images courtesy John Montana
Making a movie or a short film can be an extremely exciting and fun adventure. It is a ton of fun being on a set and shooting your own film. However, it can also be a complete nightmare, especially if you are not prepared or really have no idea on how to go about it. I have been making short films now for five years, and I have had some success at it. And I keep growing as a filmmaker, because no matter how many issues come up, I keep working at it. But for the most part, each film I have made has been very challenging because problems ALWAYS come up on a film set. It will be your job to navigate through these rocky times as it will most likely be your film. Don’t worry about it. If you learn how to stay calm and be focused on just solving these issues as they arise, you will have a great and rewarding experience. Following are five tips that I feel can smooth your way into filming. These tips address issues that I feel tripped me up several times and I want to share them with you, so you won’t make the same mistakes, because “Time Is Money”. If you remember this one thing, it will go a long way to keeping you on track and making a great film.
1. Be A Storyteller
The Bottom Line is this: The director is first and foremost a storyteller. You must have a cohesive, compelling story to tell. This is not a difficult thing to do, as everyone has at least one story to tell from their life. Whether it is a breakup, or a family trauma, or a secret desire… the list is endless. You have to trust that no matter how painful the story is, or how embarrassed you are of that story, it has been experienced before by someone else. This is not a bad thing… it means that we are all connected in many ways and that these stories are indeed universal. We all have a unique story to tell that many people will relate to and identify with.
2. Write Every Day
Many times I hear writers say they are stuck or are in a writer’s slump, because no ideas are coming or they don’t know what to write. They want an original idea for a film that nobody has ever seen before. They want the next great original idea that rocks the film world. Some of them will wait for years for that inspiration for the next great film. Now…you might get angry with me for saying this, or you will probably vehemently disagree, but I don’t think this should be your goal. Just write… let the words just flow out of you. Edit it all later. Write gobble-dee-gook, write crap, write anything. Just write. You can worry about judging it after you are finished. Think of it this way… A sculptor starts with a huge block of stone. This is your “gobble-dee-gook”. Then begin to slowly carve away the stuff that you don’t need. Carefully reveal the story you want to tell. In the end you will have something that you will be excited about putting on film.
3. Learn How To Communicate
Several directors I know have become very successful in their careers as filmmakers. They learned how to have some knowledge about every aspect of the process of filmmaking. They have learned how to speak the language of every person on their set, from costumes to the actors to the director of photography (D.P.) to the grip to the sound designer to the art director. What I am trying to say is this… I have almost totally screwed up a couple of my films because I didn’t communicate well enough with my crew. I wasn’t clear enough with a couple of my crew members of what I wanted, which then led them to do what they thought I wanted. It almost destroyed me and my film. Think of it this way. Everyone of your crew is an expert in their chosen field. You are being respectful of them, in turn they will do their best to give you what you are seeking. And that is called “Collaboration”. And good collaboration almost always leads to a great film.
4. Set Up Your Shot List Before Shooting
There are some directors who will storyboard every single shot on their shot list. Alfred Hitchcock was notorious for this, as he was also notorious for giving his actors very little freedom in their movements and portrayal of their characters. I don’t do this personally. I write out a complete shot list of every scene that I want to film. This is my process of making my shot lists:
I look at my script and write down the first scene and how I want to shoot it or how I want it to look on film. I normally start at the beginning and work my way through. I study the first scene over and over again. I look at the number of ways that I would like to shoot it. I will then write down the first set-up in regards to the camera angle and type of shot I want. Then I will choose another angle to shoot the same scene. I will then need to get coverage on these shots so that when I am editing, I have something to cut to for a reaction. And so when I have 4-5 different shots or set-ups for that first scene, I will then move on to the next scene and do it all over again. I find the act of setting up scenes is one of the most creative parts of the filmmaking process… for me anyways. There are so many options to choose from andso many different ways that you can tell your story. This part is where I go through all of my options and run the scene in my head and visually see how it plays out. Does it work? Or is there another, better way to do it?
What I am trying to say is this – ALWAYS finish your shot list before you get to your set. It will give you a road map of what you want, and how you will shoot your film. And, because you are so well prepared, you can easily replace or remove a shot that you don’t need. Or you will be inspired to get another shot…one you didn’t think of before. And when this happens, it always feels great.
5. Create a Real Environment
Creating a real world or environment for your actors or for the film is so important, that you will be surprised how easy filming is when you get this right. This is why I love shooting on real locations. The environment is real, as it is the world of the story. This is very helpful for your actors to believe the world they are in. Their imaginations must have something solid to grasp, in order to create believable characters. Wardrobe, lighting, their creativity all help in achieving truth in their performances. Now shooting on a sound stage is great as well, as long as you have the money to do it, or if your production is large enough where this is in your budget. I am at the stage where I go and rent locations as this is much cheaper and more time efficient. Even if you are on a soundstage you must not skimp on making the world as real and believable as you can.
So these are five important tips that every filmmaker should have addressed before shooting your film. If you take the time to prepare for your shoot correctly, when you actually get to the set, things will flow much more smoothly that if you were careless. Because if there is one thing you can always count on, is that there will be “challenges” that arise on the set. It is how well you deal with them that will make or break your film.
About The Author: John Montana is an actor living with his wife in L.A. and has begun to make short films. His most recent film, Hungry has been accepted into 27 film festivals all over the world. Watch his free online movies at No Title Production Films.
Images courtesy John Montana
Occasionally we take a break from showcasing scripts, and focus on the masterminds behind the words. Because there’s nothing better than hearing from successful members of “the craft”, and absorbing the sage words they have to tell.
Today, we are happy to publish an interview between Anthony Cawood, and Danny Stack, a UK based screenwriter and director whose TV credits include Eastenders and Doctors, kids’ TV shows The Octonauts and Thunderbrids. He also co-wrote and co-directed the kids’ feature Who Killed Nelson Nutmeg (just recently released). As if that wasn’t enough, Danny also produces the UK Scriptwriters Podcast, blogs about the industry and has released a book to help aspiring screenwriters break in, entitled: The UK Scriptwriter’s Survival Handbook.
Q: Could you give me a little bit of background on how you got into screenwriting?
A: I was working as an assistant in Channel 4’s comedy department in the late 90s, when they were making shows like Spaced, Black Books, Chris Morris etc. It was a great time for the dept and the channel, and I got to read a lot of scripts that were submitted. I always had a fascination with screenwriting, so my time at C4 just added fuel to the fire, and I realised it was what I wanted to do above all else. My bosses thought I was nuts, but I gave up the day job in 1999 and went freelance, trying to become a scriptwriter. I was nuts!
Q: How did you get into Channel 4 as an assistant in the first place?
A: I came over from Ireland in 1994 and got work as a media temp (which I highly recommend as a way of getting ‘in’ to the biz). I got a temp job at C4 that was meant to last 2 weeks but I stayed 2 years! It was in the Viewer Enquiry dept; taking complaints and enquiries from the general public. I then took a year out to go traveling, and when I returned I knew I wanted to work at C4 again, so I got a temp job there, and saw a job was available in the comedy dept, so I jumped at it, and got it!
Q: You’ve been writing scripts for 10 years, how did you break in with your first one – The Amazing Adrenalini Brothers (or was there something before that)?
A: When I went freelance, I initially worked on a couple of TV shows as part of the production crew (Black Books, Ali G) but then decided to fully focus on my writing (paying the bills via script reading/script editing). Between 2000-2004, I read loads of scripts and developed my own writing portfolio. My first break was BBC’s Doctors as they read one of my spec scripts, liked it and invited me to write for the show. That was my first commission, but it ended up on TV just after my episode of The Amazing Adrenalini Brothers. The Adrenalinis was my first commission in kids’ TV, and it came about as I met Nick Ostler (the co-creator of the Adrenalinis) at a short film screening, and he just had The Adrenalinis commissioned by CiTV. ‘Know any good animation writers?’ he asked. ‘Yes, ME!’ I replied, having never written for animation previously (!).
Q: Your early career is primarily in UK TV, how did you get in and get regular work?
A: BBC’s Doctors was my way in. I got my first agent and she sent one of my specs to the person responsible for hiring new writers on the show. She read my script, liked it, and invited me to pitch ideas for the show. I wrote 2 episodes in total, but I got frustrated by the commissioning process, often waiting long periods to hear if an idea was accepted or rejected, or worse ‘spiked’ (to be used at a later but indeterminate point). But writing for Doctors got me the opportunity to write for EastEnders. You have to write a trial episode of the show to get selected and on my first try, I was rejected. A year later, I tried again, and got accepted. I wrote 2 episodes of EastEnders, and was lined up for more, but then a new producer came on board and did an overhaul of the writers, and I was out (and gutted!).
Q: You’ve written for Children’s TV too, what are the differences when writing for a younger audience?
A: The main difference is tone. All the usual screenwriting craft applies. In fact, even more so, as kids are very sophisticated and watch a lot of story so they can tell if something is boring, predictable or not very good within seconds.
Q: Is it any easier to break in to Children’s TV?
A: In a way, yes, as there’s less ego and status involved in Children’s TV, so a new writer can find it quite welcoming, regardless of whether they’ve got previous experience. My top tip would be to attend the Children’s Media Conference (http://www.thechildrensmediaconference.com/ every year in Sheffield) as it’s a who’s who of the UK biz, so a great way to network and schmooze your way into writing for kids’ TV.
Q: You’ve taken the role of Writer/Director on some of your shorts, was this to maintain artistic control, expand your experience, or something else?
A: All of the above! I realised a director gets all the credit and the writer is largely ignored. I didn’t want that to happen with some of my passion projects. I was always interested in directing anyway, so I decided to make shorts to see if I was any good, expand my experience, and have some fun! I made a very ambitious supernatural drama called Origin (http://originshortfilm.co.uk/), and spent a lot of money, but it was essentially my film school and I learned a lot. The film did well on the festival circuit and won Best Horror at the London Independent Film Festival.
Q: Would you advocate writing/making short films, why do you think they are useful?
A: I would recommend EVERYONE try making at least one short film, homemade or otherwise (official funding etc). I know a lot of writers who aren’t interested or don’t think they have the suitable mentality/personality but you get a lot of help when you’re directing a film (the cameraman, the sound, the actors, etc) so it’s not as daunting as you think. But giving it a go is great just to see how the process is done, and gives you added appreciation for those who do it on a regular basis.
Q: Did you start with short scripts and then move to features with Nelson Nutmeg or have there been other feature scripts so far unproduced (‘The Good Guys’ for example)?
A: When I started out, I wrote feature spec scripts & TV spec scripts, then short scripts. All of this helped to build my writing portfolio. Getting a feature film made through the industry is a real achievement (on average, it takes about 5 years for a film to get made). It’s little wonder that most feature spec scripts don’t get made at all. But taking control of your own work means you can produce your own scripts, which is what I started to do with my short scripts and web series. This in turn gave me the confidence to tackle making my own feature film, and I hooked up with my good friend Tim Clague to help make this happen. But sometimes you get the chance to work on commissioned feature films; I did a rewrite of the Lego Friends movie, and a horror script I was hired to rewrite goes into production this November.
Q: When it comes to feature scripts, how do you approach structure in your scripts? Do you follow any particular method?
A: I’ll lay out the five main beats of the three-act structure first (inciting incident, end of act one, midpoint, end of act two and final twist/denouement) just to give me a basic shape or skeleton that I can work from. After that, anything goes and I’ll follow my instincts regarding the characters and story. If/when I get stuck, I’ll cherry pick from some of the structural models to see if they can help unlock the problem (e.g. Blake Snyder’s Beat Sheet or the 22-step approach etc). I’m a big fan of structure, I see it as your friend that’s there to help you when you need it.
Q: Where did the idea come from for ‘Who Killed Nelson Nutmeg’ (http://www.nelsonnutmeg.com/), and what prompted you to dive in and make it yourself (with your writing/directing buddy Tim Clague)?
A: I had been working with Tim for a few years, first with the UK Scriptwriters Podcast (http://ukscriptwriters.podomatic.com/), and then on more official projects like corporate work/ads. On the back of one of these ads, Tim suggested we make a family feature film together. He was frustrated with his individual efforts to get a feature film made. He wanted to make an indie low budget film but didn’t want to do horror. Family/kids sprung to mind, and I’d been working in kids’ TV for quite a while at this stage. So he figured if we combined resources, and wrote/produced/directed together (Coen Brothers style), that would get the film in the can. So we agreed to do it this way, then knocked around a few ideas, and came up with a summer camp mascot getting killed and a gang of kids investigate (knowing that we could shoot this locally to us, too).
Q: What were the challenges you face in making Nelson?
A: Well, we had no money. And no support. It was just us two to begin with, and all we had was the idea. But we put all our experience into practice, breaking down what needed to be done in common sense chunks (you can check out ‘Making Nelson Nutmeg‘ here – http://dannystack.com/making-nelson-nutmeg/). Once we knew where the story was going to be set, we went into pre-production putting the necessary elements in place. We hadn’t even written the script yet but we wanted to get some momentum going while we wrote the script rather than wait. So, once the location was locked, we started to gather a small team, then we finished the script, then we networked with the industry to tell them what we were doing and why, then we crowdfunded some money, put in some of our own cash, and got small private investment elsewhere, and made the film for that amount. The combined savvy and nous from the both of us really paid off, and directing the film together worked very well (our top tip: make sure the both of you are involved in creating & developing the story together from the start, that way you have equal understanding and no-one goes off on an individual director vision-quest).
Q: Anything you’ve learned from the experience? And anything you’ll change in future scripts/films because of it?
A: I come from a script-heavy background, I love scriptwriting and all its intricacies. But working on the feature showed me how flexible the script can actually be, once the practicalities of production come into play, or what the actors can do, and then what the edit can achieve or improve. I was aware about all of this previously but I got to experience the differences physically and emotionally by making my own film, and that’s a key difference than just reading a clever article somewhere online. But I also learned that there’s a tonne of info that doesn’t go into a script; all of the stuff you’ve worked out in terms of world of the story and character motives and certain bits of logic that’s perfectly clear to you but you end up answering questions about on set to cameramen, props, make-up, actors etc as they don’t know the story as well as you do. If you CAN’T answer one of these questions, you haven’t done your work properly to this point.
Q: What’s the release plans/schedule for Nelson Nutmeg?
A: It had its world premiere at the London Film Festival in October 2015, which was a great boost and achievement for us (we made a kids’ film for kids with kids in the lead roles, and on a microbudget, but we get a world prem at the London Film Fest. Crazy!). Since then, it’s been on the festival circuit and a mini-UK cinema tour we organised ourselves. It got a US release in the summer of 2016, and we’re finalising plans for a UK Stream/Dvd release this autumn or later in the year. We’re such a tiny film, but we’ve reached well beyond our expectations.
Q: What are your thoughts on the business side of screenwriting, getting your scripts ‘out there’ and networking to make connections?
A: Well, I go into this in great detail in the UK Scriptwriter’s Survival Handbook (http://bit.ly/UKScriptwritersKindle), which myself and Tim compiled as a hands-on and practical guide to surviving as a screenwriter in this country – sharing our experience and practical know-how. Nowadays, it’s easier than ever before to make contacts, and get your work out-there. And there’s more help, courses, articles and books to make writing ‘easier’. Writing doesn’t get easier of course, but there’s no excuse not to get better. Networking is important; half of the work I’ve ever done is via the contacts I’ve made over the years.
Q: You co-host the excellent UK Scriptwriters podcast, what prompted this venture and what have you learnt from it?
A: I actually started the podcast as I was procrastinating, and having a bit of a slump with my confidence/writing. I was online trying to find UK writing podcasts as a way to get inspired and couldn’t find any so I thought: THERE SHOULD BE ONE. And then: I’LL DO IT. And then: NO, I’LL DO IT WITH TIM, HE’S PROBABLY GOT A GOOD MICROPHONE. And lo, he had. We’ve been doing the podcast since 2010. We enjoy it for ourselves mainly, as a hobby, but it’s been a neat distraction, and one that ultimately led to us working together to make Nelson Nutmeg.
Q: You’ve had some great guests on the podcast, any personal faves? (mine was Tony Jordan!)
A: Mad Max writer Brendan McCarthy was great; very generous with his time and insight on the making of that film. Andrew Ellard’s comedy podcast is a popular one, as is James Cary’s sitcom special, and James Moran’s horror interview, and Debbie Moon’s Wolfblood. I’ve loved all our guests! We’re open to suggestions on who might be next…
Q: Your blog is a must read too: http://www.dannystack.com, that’s been going for 11 years, providing a tool of free help and advice for writers. Do you enjoy giving back to the community in this way?
A: I’ve been thinking about this a lot recently because there’s a whole load of sites and social media that are very needy for your screenwriting time & attention. I’ve been blogging since 2005 and trying to share what I can. But why do I do this? Is it an insecure need for time and attention? That must be part of it, but I realised it comes from a bigger and deeper reason than that: I’m doing it because it’s the kind of advice and support I would have liked when I started out, when I didn’t know what I was doing or what I could do. I’m doing the blog and providing free help (when/where I can) because I know what it’s like to feel cut off or clueless or not talented enough. But with a committed application and focus in the right areas, anything is possible.
Q: You’ve also co-written ‘The UK Scriptwriters Survival Handbook’, what prompted that?
A: Ah, sorry, I’ve mentioned this already in the answers above. But it’s curious. You can give away free advice and insight on a blog (like I’ve been doing) yet still get daily emails asking you the same questions about how to get an agent or how to break in as a writer. There’s a constant source of people coming through, and they may not have come across your site. And even when you point them towards the article on the site or the relevant blog post, they still don’t really follow through. But if you put all the relevant info in a book, then people are willing to pay for the info, to have it ready at hand. So, Tim and I decided to put the best bits of our blogs into one book that would cover everything everyone would need to know about surviving as a screenwriter.
Q: It’s fairly unusual for a UK focused book of that type, as most seem to feature US and working in Hollywood. How is it being received?
A: It’s done really well, for such a niche area and niche audience. We self-published, and it’s made us some handy money between us, so we’re pleased. Some of our properly published friends in the world of screenwriting books have expressed jealousy that they didn’t self-publish themselves, as the publishing deals for these types of niche books aren’t always that generous. Ha!
Q: You help with assessing entries for the Red Planet Prize, which is a great competition for UK screenwriters, what’s the idea behind this?
A: In 2007, I had an idea for a UK screenwriting competition where a new writer would get a prize for their winning script BUT ALSO get mentored afterwards to ensure that their career received the kickstart it deserved. I took the idea to writer/producer Tony Jordan (Life on Mars, Hustle, EastEnders, etc), who immediately jumped on it, and came up with a fantastic prize: £5k cash, a commission on one of Tony’s shows (or he would option the winning script) and an agent (if you didn’t already have one). The Red Planet Prize (named after Tony’s production company, Red Planet Pictures) was launched at The Screenwriters Festival in the summer of 2007. The entire scheme has proved to be a great success (BBC’s Death In Paradise coming from the Prize, as well as many writers advancing their careers). I am very proud to be a part of it, especially as I know all-too-well what it’s like to be a new writer trying to break into the industry (tapping back into what I said earlier about ‘why do I do this?’).
Q: When does the Red Planet Prize run, and when is the announcement of this year’s due?
A: It’s a biannual event nowadays. This year’s winner was announced a couple of weeks ago – details here – http://dannystack.com/red-planet-prize-2016-winner/!
Q: If you’ve used services/sites like Inktip, SimplyScripts, The Blacklist, what’s your view on this type of model for screenwriters to get their scripts seen, and hopefully picked up?
A: I haven’t used any of these services. I would imagine that they’re useful to some people and frustrating to others. Check them out, weigh them up, give them a punt, your mileage may vary. Be wary of just handing over money for an empty subscription or empty leads.
Q: What screenwriting projects are you working on now, and when can we next expect to see your name on the credits?
A: I’m working on a lot of kids’ TV shows at the moment. There’s the CBeebies’ favourite Hey Duggee, which is a real treat, and a few more I’m not allowed speak about. There’s that horror film I rewrote going into production in November. And I’m working on the next family film with Tim, a Christmas movie, which we plan to shoot in winter 2017.
Q: What’s the best and worse screenwriting advice you’ve been given?
A: The best advice is to finish what you’ve started. Don’t waste too much time online looking for the perfect answers or convincing yourself that there’s no point as the industry’s a closed shop (it isn’t), just write and finish a damn script (feature script preferably, but TV or short script will do, too) then who knows what might happen? The worst advice I got was when I decided to pursue writing and two close friends advised me against it, saying the competition was too great and you had to be really good. They were right, in a way, but I fully committed myself to the cause, knowing that I had at least got what it takes (or knew that I had to at least try), and am getting better all the time. There are more talented writers out there than me, but that doesn’t mean I won’t get ahead of them.
Now for a few ‘getting to know Danny’ questions!
Q: What’s your favourite film? And favourite script, if they’re different.
A: My favourite film changes daily, depending on what I’ve just seen or re-watched. At the moment, it’s Manhattan by Woody Allen. One of my favourite scripts is Stranger Than Fiction by Zach Helm; the way it was written was far more enjoyable than how the film actually came out (but that’s another lesson in itself).
Q: Favourite author and book?
A: Again, this can vary on any given day, but Song for Achilles by Madeline Miller is incredible. Classic-wise, I’m a cliched fan of The Catcher in the Rye by J D Salinger.
Q: Beer or Wine (or something else)? And which variety?
A: Yes please. Oh sorry, you mean what type? Any kind of decent lager. A full bodied red. And I’m quite partial to a milk vodka (http://www.blackcow.co.uk/) or two.
Q: Favourite food?
A: Give me a decent burger or fry up and I’m happy.
Q: Football team?
A: Nottingham Forest.
Q: Any other interests and passions?
A: Sport. Keeping fit (very important as a writer; I’ve had years of back trouble that is now regulated by effective exercise).
Q: You’re from Ireland but (I assume) live ‘down South’ now. Anything from home you miss?
A: I live in Bournemouth now. But I miss Clonakilty black and white pudding (http://www.clonakiltyblackpudding.ie/) from back home. The UK doesn’t do white pudding at all as far as I can tell, and the black pudding’s a bit hit & miss. A decent pint of Guinness can also be hard to come by.
Q: Any final thoughts for the screenwriters of SimplyScripts?
A: Read all the free stuff (http://dannystack.com/downloads/) on my blog and if that doesn’t cover everything, buy my book!
About Interviewer Anthony Cawood: I’m an award winning screenwriter from the UK with over 15 scripts produced, optioned and/or purchased. Outside of my screenwriting career, I’m also a published short story writer and movie reviewer. Links to my films and details of my scripts can be found at http://www.anthonycawood.co.uk.
