Our Quarter-Finals are where we start to narrow down the field and start to see which scripts have the most potential – and that alone always makes them an exciting time for us!
Our Summer 2020 Screenwriting Contest is now LIVE! One of the big prizes for our top three scripts is pitching them to industry – and here’s a sneak peek into how we do just that. See the latest instalment of Ian’s LA Diary below, featuring a trip to BAFTA LA and a meeting with SCARFACE co-producer Peter Saphier…
My first meeting today was a first chance for me to meet BAFTA LA and get to know their services and initiatives first-hand. Our founder Alex Ross is a BAFTA member, and recommended I reach out to them about how we’re increasing both our presence on the ground in LA and our transatlantic partnerships with the UK industry at the same time. Good call.
So this morning I met BAFTA LA’s Head of Partnerships Wayne Watkins at their 12th floor office, with great views across LA in all directions, from the sea to the Hollywood Sign and far beyond. Wayne gave me nearly two hours of his time and was great company. It was really satisfying to hear about the value that BAFTA LA add to the whole industry in LA and its future talent pipeline, especially for outsiders and those who wouldn’t have had the chance to get into the industry there otherwise. I’m really looking forward to taking discussions forward and finding further synergies: thanks very much to Wayne for being so generous with his time and thinking.
So from there I moved to the famous Musso & Frank Grill – Hollywood’s oldest (established over a century ago!) and fresh from its latest big-screen appearance, in Tarantino’s ONCE UPON A TIME IN HOLLYWOOD. There I was hosting Peter Saphier, the producer of SCARFACE (with Al Pacino), EDDIE MACON’S RUN (with Kirk Douglas) and BLACK DOG (with Patrick Swayze) among many other achievements. Peter passed on traditions of visiting Musso’s and what to order, which he had inherited from the passing generation of filmmakers who first brought him here, and which I will now continue and pass on too – such as the tradition of ordering their excellent Flannel Cakes. It was also one of the best-value meals I’ve had in LA, and a beautiful venue. What’s not to like?
It was fascinating to hear Peter’s stories about oldtime stars of the postwar years and subsequent decades. His stories from SCARFACE were particularly eye-opening – and made me all the more aware that sometimes we have to take big creative and reputational risks in order to achieve works that will really break through and resonate down the generations. In that spirit we both later began to talk about our own current slates and consultancy services, and it was great to be able to share some industry insights and approaches that can help even someone at his experience level (transatlantic industry knowledge again!).
Peter also offered to host a lunch for our winners in Hollywood in the future, like he and Alex used to do for them at Warner Brothers – an offer I’ll be delighted to take up. It’s another great example of the kind of industry access and expertise we aim to open up for all our winners at WriteMovies, and anyone else who we come to partner with.
After lunch with Peter discussing about a wide and very enjoyable range of subjects, we got into a final conversation about the filming equipment I’ve been walking round with lately, to be able to film and photograph at instant industry quality wherever I go: the audio recorder, monopod and 4K DSLR camera I walk around with, to be able to shoot spontaneous useable footage, audio and stills at a few moments’ notice. I explained that the DSLR had already recorded tens of hours of primetime UK series, produced by a Director-Producer-DP friend of mine. It’s remarkable how far our technology and potential has come, in the space of our careers, and it’s fun to be able to show an experienced hand like Peter something new!
The DSLR came to good use straight after the meeting with Peter too, because I stepped out of Musso and Frank’s straight onto the Hollywood Walk of Fame. As I ambled back, I took dozens of new stills of the famous names there in the space of a few minutes, which can help to illustrate our future WriteMovies articles for many years to come. Though I can’t say the nameplates themselves are all that exciting, they’re a great token of how the work of Hollywood is kept alive and gets to resonate down the ages like so few other works.
I only photographed the names that meant the most to me, and maybe half of those were for stars who died before I was even born. Truly, great cinema is a global gift for the ages. My meetings this week have really invigorated me with that sense of purpose once again: to continue to champion great global storytelling through WriteMovies. It’s a great position to hold in the industry.
And something else amused me too. At one crossroads on Hollywood Boulevard, the Walk of Fame comes to an end while the Boulevard continues on ahead. Once you cross the road and continue along Hollywood Boulevard, straight away, the next sidewalk is just a messy patchwork, without pretences or tourist traps, yet still at the heart of the action. Yeah, there’s a metaphor in there somewhere.
My last meeting of the day was with the creator of an online LA industry network that now has over 30,000 members. I don’t think there will ever be over 30,000 stars on the Hollywood Walk of Fame, but considering the length of the credits on any major movie, there’s definitely enough work to be had supporting the ones who do get one. It’s great to know that so many established industry players we’ve met this week can recognize the difference we try to make for those writers and storytellers looking to move up to the next rung in their own journey in the industry, wherever they’re starting from.
I, and our founder Alex, both got separate emails from Peter after my meeting with him, telling us hugely complementary things about how the meeting with me had gone. I replied that if I could print and frame an email, that would be the one! Moments like that make all the hard work worthwhile…
NEXT TIME, IN FRIDAY’S L.A. DIARY… Producers of many huge movies look at ALL of our slate and clients!
If you’d like to see more of Ian’s diary, you can 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! And find out about his trip to Warner Brothers and Digital Monarch Media HERE.
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.
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).
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!
The first ever WriteMovies Romance and Comedy Award has a winner! It’s been great to read all the scripts that were entered, and the standard was extremely high, as it usually is – but there can only be one script that takes the top spot…
Parting is such sweet sorrow… and we can’t bear to say goodbye to our Winter 2020 Screenwriting Contest just yet. So as a result, we’ve decided to give this contest a one week extension!
You’ve now got until Sunday March 8th to submit, giving yourself a chance to win great prizes from us here at WriteMovies – not to mention the prestige of becoming one of our winners!
We’ve talked enough about what the contest prizes are in our newsletters and articles – but if you need a reminder, there’s $2000 up for grabs for our Grand Prize winner, plus a year of free script development and guaranteed pitching to industry for our top three scripts!
Our Director, Ian Kennedy, will be sharing some of his Hollywood/LA diary with us over the next few weeks, with news of meetings at major studios and with elite producers, giving you insight into what goes on behind the scenes at WriteMovies. Make sure you don’t miss out, so you know how we present our winners to industry.
And in the meantime, put yourself in the best possible position by entering our contest! The window of opportunity is still open… for the moment. Click here to submit by Sunday March 8th for your chance to win the WriteMovies Winter 2020 Screenwriting Contest!
Have you entered the WriteMovies Winter 2020 Screenwriting Contest yet? If not, you’d better move fast – there’s just one week to go until the final deadline, which is coming up this Sunday 1st March!
It’s always easy to miss a deadline, especially when you want your script to be as good as it can get. You get stuck into the editing, polishing every last scene right down to the smallest word – and the next thing you know, you’ve missed your chance. The deadline has passed!
That’s why we always make sure to let you know when one is coming up. The Winter 2020 Screenwriting Contest has been a great one for us so far, especially with the inclusion of our latest genre prize – the Romance and Comedy Award 2020 – and we’re eager to see what else you’ve got for us. Make sure you get those scripts in!
With a $2000 Grand Prize on the line, plus free script development, guaranteed pitching to industry, and InkTip prizes for our top three scripts, there’s plenty to be won. We’re already looking forward to working with our next batch of winners. And who knows, one of them could be you…
Valentine’s Day is the day to celebrate all things romantic – including movies! And with our first ever Romance and Comedy Award closing just last week, this seemed like the perfect time for us to put together a small list of our favorite romantic films that we think all writers should watch.
The list isn’t intended to be comprehensive, and these aren’t categorically the best the genre has to offer! But they are our favorites, and there are important lessons for writers to learn from all of them this Valentine’s Day…
1. DOCTOR ZHIVAGO
David Lean was on a roll by the time he came to make DOCTOR ZHIVAGO, having just made BRIDGE ON THE RIVER KWAI and LAWRENCE OF ARABIA – and it shows. The bleak wastes of Russia make for a beautiful backdrop, but center stage is a sweeping love story that carries us through the brutality of the country’s political turmoil of the early 20th century. This film is the very definition of the term “epic”. At over three hours long, it shows that if you make the human elements of your story strong enough, it’s still enough to keep an audience engaged for however long.
2. ROMEO + JULIET
There was no way we could compile this list without mentioning the original pair of star-crossed lovers – it was just a question of which version! Special mention goes to the 1968 version, but it’s Baz Luhrmann’s modern re-imagining which gets our vote. The beginning of the film is too hectic, but once the lovers meet it becomes a sumptuous, tragic tale full of stolen moments and forbidden love.The original script was written by some guy called Shakespeare, who seems to have been pretty good at his job: he fills the story with passion, jokes, despair, tragedy and revenge all in one go.
3. ETERNAL SUNSHINE OF THE SPOTLESS MIND
Memories of a failed romance can be painful – and that’s why Joel and Clementine choose to have theirs erased in Charlie Kaufman’s Oscar-winning script. Like much of Kaufman’s work, it’s a mind-bending concept (literally, in this case), but it’s also a touching exploration of love, loss, and the nature of heartache. Jim Carrey turns in a surprisingly subtle and understated performance that suits him, while Kate Winslet picked up her fourth Oscar nomination for hers, but ultimately it’s the script that powers this beautifully poignant film.
4. BEAUTY AND THE BEAST
The first animated film to be nominated for Best Picture, BEAUTY AND THE BEAST is either a film about Stockholm Syndrome or how true love looks beyond mere appearances – but we choose to believe the latter. With fantastic animation, catchy songs, and a tale as old as time, this is the perfect example of how to tell a fairytale romance. Just don’t get us started on the live-action remake, which turned the Beast into a jerk and featured a bit too much auto-tune.
Okay, so here’s a bit of a strange one: a man falls in love with the operating system on his computer – and it falls in love with him in return. Another winner of the Oscar for Best Original Screenplay, writer-director Spike Jonze takes his unique premise and weaves a touching story about the nature of human relationships… despite one half of the central relationship not being human. But then, that’s part of the reason why it works. It’s an insightful look into the psychology and emotion of love, demonstrating both its vulnerability and its boundlessness.
SPECIAL MENTION: TITANIC
James Cameron’s epic is the gold standard for a lot of people, even if it’s a bit overwrought in our opinion. Its impact and technical achievements can’t be ignored, though.
SPECIAL MENTION: 4 minutes of UP
The “Married Life” segment of Pixar’s UP brings all but the hardiest to tears, charting the entire marriage of Carl and Ellie without a single word being said. Frankly, we’d have included it in our list if it were a film in its own right, but since it’s just a small part of one, it’ll have to make do with a special mention instead.
So there you have it – our favorite romance films. We don’t claim that they’re the best, but they’re the ones that have touched us the most and we think that all writers can learn something from them!