A Paranoia of Screenwriters

I don't know if there is a collective noun for a group of screenwriters but if there isn't can I proffer 'A Paranoia of Screenwriters'?

Because (as every right thinking, decent, hard-working screenwriter knows) everybody is out to steal their ideas, screw them Toby Ziegler style with their pants on, and generally suck on the marrow of their creative genius like some vampiric nemesis writ large.

Okay, maybe I'm exaggerating... a little. I have come across those people and I am sure you have too. You just roll your eyes and head straight for the free wine.

So it was refreshing for two days to a) be in the presence of the redoubtable Simon van der Borgh who conducted his Genre Workshop in typical entertaining style and b) hear approximately 20 feature stories ideas as a result of Simon's devilishly simple writing exercises.

To those of you mailing copies of your scripts to yourself by registered post, yes I was recording every pitch on the iPhone 4 I don't have and I've been busily transcribing your genius as we, um, 'speak'.

Seriously though, I LOVE these sorts of workshops precisely because they are all about stories and creativity. Spending a couple of days discussing the history of genre, genre types and conventions, audience expectations, referencing films and watching clips, discussing character and story rather than templates. All brilliant stuff. And highly interactive.

It's always interesting listening to other people's story ideas and we had a wide range from horror, to supernatural, to a rom-com, action-adventures, family dramas, social justice, epic fantasy... and my little science fiction horror. You also get the benefit of feedback and thoughts from Simon and your screenwriting brethren which helps gauge if the story has potential.

Plus one key message that emerged from the workshop - the consistency of TONE. The knock on a lot of Australian films being that because they don't know what genre they want to be their tone is all over the place which alienates audiences as expectations are not met.

So thank you to Simon and kudos to all the talent in the room who contributed to making it an enjoyable and productive couple of days. Let's see how many of these ideas make it to the page and hopefully further...

Just don't tell anybody a group of screenwriters gathered together in the one place and freely gave of their time and ideas... we have a reputation to uphold!

Feature Navigator

Six teams of film-makers shuffle nervously in their seats. Eyes dart. Throats clear. Fingers drum.

Interspersed throughout the room are representatives from Screen Australia, ScreenWest, the Australian Writers' Guild... and the three consultants who will generously offer their expertise, counsel and good humour over the coming days.

Introductions are made. Expectations set. Projects announced...

So begins Feature Navigator, a week long development workshop for feature film projects. And what a diverse group of films they are - horror, psychological thriller, a Bollywood style comedy, children's adventure, period drama, and our own supernatural mystery.

I know some of the people around the table but there are a lot of new and unknown faces. We are all colleagues but also competitors - only two teams will receive development money based on the next draft delivered in three months time. A draft that will be immeasurably enhanced by the sessions we're about to go through.

We meet the Head of Development at Screen Australia, Martha Coleman, who later that day (Monday) gives an engaging and informative session, described here. The following day The Red Bride team have a thirty minute 'meet and greet' with Martha - the project is discussed, who we are, what we've done, what we hope to do.

Then it's down to business. First up - Sue Murray who was an Executive Producer on Dr. Plonk, Ten Canoes, Tom White and co-produced Alexandra's Project with Rolf de Heer. The script is discussed at length and I am delighted with Sue's insight and rigour. This is exactly how it should be and I feel comfortable with the back and forth. There are some very perceptive observations I had not considered (or heard) before and this is like gold. Chris (director) and David (*co-producer) are also engaged in the creative conversation and Sue's comments about the team and Chris' directing style are very positive. Then it's on to marketing, casting and other matters. A thoroughly positive and valuable consultation done with great grace and precision.

Tomorrow, I am really pleased to be back in the company of Messrs. Rawlinson and van der Borgh whose workshop earlier in the year I was most impressed with. Then Elissa Down (The Black Balloon) - who I know from her Perth days - on Friday. Elissa has spent the last two years in Los Angeles developing a slate of projects and it will be fascinating to hear more of that process.

I am feeling good about the future of the script and embracing the momentum this sort of intense scrutiny delivers. More reports as events unfold...

Special mentions to Alan Payne from the WA Branch of the Australian Writer's Guild and Rikki Lea Bestall from ScreenWest for making Feature Navigator possible and for the quality of consultants engaged.

* My other co-producer, Jocelyn Quioc, would love to be with us but is unfortunately unable to attend due to work commitments.

Feature Script Development Workshop

A quick shout out to Simon van der Borgh & Jonathan Rawlinson whose 3 day development workshop I've been attending this week along with other Perth writers, writer-directors and producers.

Informative, entertaining and interactive, this has been an excellent look at character, story and structure by analysing films such as Little Miss Sunshine, Transamerica, Muriel's Wedding and Remains of the Day. Also through exercises like today's The "Most" Character where we had 90 minutes to write roughly a one page outline identifying character wants/needs and hitting key story points for a (new) feature idea. Not easy!

Reading out and analysing these in a supportive environment was most instructive. Not only from a craft perspective but listening to other people's storytelling styles and ideas is always inspiring. Discussion has been effusive and good-natured. The talent around the table is inspiring (if not a little intimidating) and the level of passion for the craft of storytelling a joy.

This isn't just theory but a practical way at looking how to develop projects. I have already started to re-assess my work through, particularly, today's discussions.

Looking forward to the final day tomorrow - more analysis, more exercises then a drink or three with colleagues to wind up an excellent three days.