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Ian’s L.A. Diary, Wednesday March 4th – Warner Bros. and groundbreaking VFX!

Ian’s L.A. Diary, Wednesday March 4th – Warner Bros. and groundbreaking VFX!

The coronavirus crisis is making life hard for everyone right now – today, all Californians were ordered today to stay home. Here at WriteMovies, though, it’s business as usual thanks to an established business model we developed several years ago, enabling us to continue our work around the world from our own homes where necessary! We’ve got big plans coming up to help support our followers and clients during this pandemic, too – we’ll be telling you more about that next week…

But before that, we promised to share a week of Ian’s L.A. Diary from the beginning of March – and here’s Part 3! We GUARANTEE to get our winners’ scripts in front of top producers with the power to say yes and make things happen, and this sneak peek gives you an idea how. Here’s what Ian got up to on Wednesday March 4th…


So today I had two long crosstown trips to make. First was to Warner Brothers, where I had to check and collect the movie assets they had distributed for a decade from the film WriteMovies produced in 2006 – THE LIST. It’ll be really exciting to open new doors for one of our greatest success stories – a charming New York rom-com written by our winner Marcus Folmar and starring Wayne Brady, Sydney Tamia Poitier and Jane Lynch among others – but at this moment the focus was purely on the nuts and bolts: cross-checking the inventory, ensuring all the assets are present and indexed and in good condition, packed and ready for shipping.

Warner Bros sign

Visiting the media archive at Warner Bros!

I took my time to check that all of the details were right, because you can’t expect to be able to go back after the fact, to argue that something should have been there but wasn’t. I videoed the contents of the pack and inventory too, in case we ever need that for reference. Some things you only ever get one chance to do right, and this was one. Thanks to WB staff for their help throughout the process! As you can imagine, their media archive is a vast and (as far as I could tell at this point!) meticulously indexed warehouse facility, and was a fascinating place to visit and spend time.

So, one big box heavier, I set off from Burbank to Marina Del Rey, an hour away, to meet double Oscar-nominated and double BAFTA-winning VFX expert Habib Zargarpour (THE JUNGLE BOOK, BLADE RUNNER 2049, and much much more including Tom Hanks’ imminent GREYHOUND). Habib is now Head of Film Development at Digital Monarch Media, a division of Unity Technologies, and welcomed me to meet his groundbreaking team managing film for a company within Unity Technologies. I spent time getting to know the team, and catching up about the latest filming for THE SQUADRON (directed by Habib and produced by our founder Alex Ross).

Ian (right) getting to grips with amazing real-time VFX capture equipment, with Habib Zargarpour (left) and his colleagues at Head of Film Development at Digital Monarch Media, a division of Unity Technologies.

Then they took me along as a visitor to a demo they were doing for a fascinating film school, who it was great to meet and get to know as well. Then we all came back to the company office where Habib and his team showed how their latest equipment enables directors to generate – and customize – their VFX in real time. This technique proved extremely effective when they produced the VFX for THE JUNGLE BOOK live-action/CGI remake and we look forward to sharing much more about their unique work and tools with you in future. In the meantime, massive thanks to Habib for his team’s hospitality and help with our media assets from Warner Bros!

Next, another lengthy cross-town trip later, I liaised with further candidates for the new role we’re looking to add to our team, and caught up on emails – with so many exciting meetings happening, it’s vital to follow up what’s been agreed and discussed thoroughly. Emails are important to confirm them and start to make things happen and take industry interest in us to the next level every time: vital details are easily missed or forgotten in the rush of other work if not, and could come back to bite you if you can’t show a trail of substantive evidencing for them. And meanwhile, not forget to check in for the next meetings and confirm any extra details.

The logistics of a week like this in LA are vital to its success, and agreeing the wrong number of meetings or times that don’t work with each other can undo all your good work getting this far.

NEXT TIME, IN THURSDAY’S L.A. DIARY… BAFTA LA, and Hollywood traditions with an iconic film role producer!


Want to see more of Ian’s diary? Check out how he prepared for pitching on Monday HERE and how his meeting went with Shaun Redick (GET OUT, BLACKKKLANSMAN) and Yvette Yates of Impossible Dream Entertainment HERE!

Ian’s L.A. diary, March 2nd 2020 – preparing for a big pitching opportunity and growing the WriteMovies team

Ian’s L.A. diary, March 2nd 2020 – preparing for a big pitching opportunity and growing the WriteMovies team

To give a picture of how we engage with industry and pitch our winners’ scripts, our Director Ian Kennedy is sharing a week of his L.A. diary with us. He’s got meetings with major producers, organisations and other industry professionals to share with us, plus images from the scene.


MONDAY

Ian Kennedy and Kathryn Nawrocki

With Kathryn Nawrocki at the historic Culver Hotel

A lovely warmer to our week began over the weekend with a meal at the historic Culver Hotel (lots of fun industry connections, especially from THE WIZARD OF OZ, Charlie Chaplin and John Wayne) with Kathryn Nawrocki, a former WriteMovies winner who has been a great support for us over the years. As well as setting us up for a meeting with producers of acclaimed recent hits, she gave some really thoughtful contributions to our slate of scripts and how we’re currently presenting them. Huge thanks to her for her kindness, connections and positivity!

The start of the week is a great chance to check in on upcoming meetings, firm up the details and logistics, and rearrange any that need it – people are busy here so confirmed meetings often still get reshuffled! Amazing how much time that can take up when you’ve got a lot of other appointments and locations to juggle with, but it’s the info you need first so you can know your schedule and what else is going to be possible. Learning to keep communications brief and clear is key, and it’s what everyone expects from you as well.

Next up, a check on where we’re at with our planning and preparations. First bit of that is reaffirming our goals for the week, our priorities and focus. It’s way too easy to be a head-down worker, get straight into the little jobs that are ongoing or waiting in your inbox, and lose the bigger picture. For me, this week is about affirming an ongoing presence here in L.A. that is highly visible to the industry and to achieve the kind of conversations that will lead to our scripts getting optioned and produced. To make that happen, it goes without saying we should go into all meetings prepared and crystal clear about the people we’re meeting and their work, us and our relevant scripts, and what we’re looking to achieve.

It’s easy to only look at things in terms of yourself and what you’re trying to achieve – but nearly always, it’s only by helping someone else achieve what they’re trying to, that you’ll achieve a deal that works. So you have to get a feel for the slate, priorities and values of the people you’re talking to, and use your human intelligence and networks to get the info you need. Of course, we’ve been pooling our team knowledge and colleagues and networks to do just that for a long time before any of this week’s meetings were confirmed.

So while I’m doing the above I’m liaising with our team to firm up the sharpest, clearest pitches possible as we confirm the most suitable of our scripts for the upcoming meetings. Every new thought or bit of research can change our approach to this and the reference points that will be the best to use, so this kind of thing I like to manage as an ongoing conversation, keeping a short summary of the things I need to memorize in an accessible location as I do.

Standard Hotel

Many Hollywood hotels have varied spaces that can be great for meetings, like The Standard’s pool area here. The lobby and restaurant there both have good spaces to bring people as well – we were one of several industry meetings taking place casually in those spaces today.

We’ve been given huge amounts of great tips and insights over the years so it’s important to process that into easy-to-access summaries and checklists too. So easy to miss the one crucial thing that could make or break an opportunity. For example: “So what’s your ‘big trailer moment’ in this story?”

Meanwhile, a top priority early this week is interviewing candidates to be a new voice on the ground in LA for us. Today that process started very promisingly. Quietly optimistic that we can get someone with the right skills and credentials in place by the end of this week – watch this space!

 

IN TUESDAY’S L.A. DIARY…

Find out how Ian gets on in his next meeting with acclaimed producers, and further interviews to join the WriteMovies team!

WriteMovies Wall of Fame 2019

WriteMovies Wall of Fame 2019

It’s been a great year for us here at WriteMovies, with three successful contests – Winter, Spring, and Fall – producing a lot of great scripts! We’ve also been very proud of our first two genre awards to celebrate great writing: the Sci-Fi and Fantasy Award and the Horror Award.

We’re already hard at work with our winners on developing their scripts and getting them out there to the industry, but today we look back at our contests and reveal our full Wall of Fame for 2019.

Here’s a reminder of our Grand Prize winning scripts…

  • PROMISE OF TOMORROW by Andrew Pennington: A fantastic British rom-com that made us laugh out loud from start to finish, capturing our attention with its quirky characters, heartwarming story, and fantastic audience appeal.
  • CARAVAGGIO by Alasdair McMullan: Based on the tempestuous life of the Italian painter, this television pilot was as fun as it was fascinating, making the most of its strong concept and engaging main character.
  • MONGER by David Axe: The winner of our Horror Award also took the Grand Prize in the Fall Contest. The plot and the monster that haunts the protagonists both feel fresh, and with well-rounded characters we quickly came to care about, it kept the suspense high throughout.

And a special shout out to the first ever winner of our Sci-Fi and Fantasy Award, too: THE TIME-TRAP by Mark Flood! To describe this script as a thrilling ride would be an understatement; it kept us gripped from the first page to the last.

If you’d like the chance to see your name on next year’s wall, submit to our Winter 2020 Contest and Rom-Com Award today – just one week until the Standard Deadline!

WriteMovies Fall 2019 Screenwriting Contest – One Week Until the Deadline!

WriteMovies Fall 2019 Screenwriting Contest – One Week Until the Deadline!

We’re nearing the end of another contest! Partnered with our first ever Horror Award – the winner of which is announced on Halloween – the end of the WriteMovies Fall 2019 Screenwriting Contest is fast approaching, with submissions closing on October 13th!

Whatever genre your screenplay belongs to, we want to see it. WriteMovies has been helping writers to succeed for twenty years now, and we want to keep that going! We’re always on the look out for great scripts and fresh new voices that deserve to be heard.

That’s part of the reason why we offer our top three scripts a year of free script development followed by pitching to industry. We want to make sure that your work reaches its full potential – and that once it has, it gets the best possible chance of getting into production. A screenplay should be turned into a film – not left to linger on the page!

Don’t forget the Grand Prize for this contest either. The winner walks away with $2000… not to mention bragging rights!

So make sure you don’t miss your chance. If you’ve got a script you want us to champion, enter the WriteMovies Fall 2019 Screenwriting Contest before October 13th to grab our attention. We believe that great writing deserves to be recognized!

You can also get free entry to this contest when you buy a script report from us. Get professional feedback on your script drawn from industry-standard templates, starting with Judging Feedback from $89 up to our more comprehensive Development Notes at $149.

With just one week to go, move fast if you want to enter the Fall 2019 Screenwriting Contest. Click here to submit today!

WriteMovies Fall 2019 Screenwriting Contest – One Week Until the Deadline!

Fall 2019 Screenwriting Contest and Horror Award – Early Bird deadline approaches!

Another deadline approaches! There are only a couple more days left to enter the WriteMovies Fall 2019 Screenwriting Contest and Horror Award 2019 at our cheaper Early Bird rate… Make sure you don’t forget to enter by this Sunday, August 25th!

Just last week, we were excited to announce the winners of our Spring Contest – but the wheels never stop turning here at WriteMovies. Our next two competitions are well underway, with fantastic prizes and opportunities to be won for screenwriters!

Not only is there the chance to win the $2000 Grand Prize of our Fall 2019 Screenwriting Contest, but we’re also celebrating great writing in our 20th Anniversary year with our second genre prize: the WriteMovies Horror Award 2019!

Submissions to the Horror Award receive free entry to the Fall Contest, with additional prizes on offer too: two sets of Development Notes, further advice on fine-tuning the winning script, and guaranteed pitching to industry.

And more than that, it’s the opportunity to be the first ever winner of this Award, joining Mark Flood who earlier this year became the winner of our inaugural Sci-Fi and Fantasy Award with his script THE TIME-TRAP!

If you need a bit longer, don’t worry. The final deadline for the Horror Award is September 29th and for the Fall Screenwriting Contest, you’ve got until October 13th. But if your script is ready, make sure you submit before the Early Bird Entry ends on Sunday!

Click here to submit to the Fall 2019 Screenwriting Contest – or click here to submit to the Horror Award!