WELCOME To the London Screenwriters’ Festival 2018 My name is Chris Jones, get the most from your LSF founder and creative director of experience. the festival. And, just like you, I love storytelling and writing My hope and belief is that the screenplays. festival will change the way you look at your writing, your career and The LSF has fast become the most hopefully your life too. exciting, prestigious and largest event of its kind. So - open your mind and heart and get ready for one hell of an Over the three days of the festival adventure. It’s going to be you can expect to gain a massive awesome! Promise. amount of screenwriting knowledge, make powerful new industry contacts and connect with a whole new group of like-minded creatives. Chris Jones This pack will help you get the most Creative Director from the festival. I urge you to read www.LondonSWF.com it as soon as you can if you want to Follow me on Twitter @LivingSpiritPix
We have an official Twitter hashtag for the festival which is #LondonSWF. You can follow us on Twitter @londonswf Join us on Facebook at https://www.facebook.com/londonswf - do drop by and like the page, we use it for many announcements of upcoming stuff. We have a blog too – check it out at www.londonscreenwritersfestival.com/blog
3 SHAPE OF THE FESTIVAL The festival runs for three days late for our parties (on Thursday, from September 7th to 9th (Friday to Friday and Saturday nights, which Sunday). includes the awards).
The days start at 9.00am and end We recommend planning for both. Plan around 7.30pm (with networking drinks to be present as much as running later). possible as you won’t want to be dragged away from the festival to other The venue is Regent’s University events over the three days. (which used to be called Regent’s College, but it’s the same building). On the first day of the festival there will be a bottleneck as the 800 delegates turn up to collect their passes, so arrive early.
We suggest no later than 8.30am on Friday 7th September.
Each day you can arrive early for breakfast (in the refectory) and stay
WiFi Access The good news is that we SHOULD have free WiFi. In past years this has been an issue but we have new contractors at the venue, so fingers crossed! Your WiFi code will be on the back of your pass when you collect it at registration.
4 GETTING THERE The London Screenwriters’ Festival Exit Baker Street tube station, take the is hosted by Regent’s University, in Marylebone Road exit and turn left. the heart of London and within the Walk past Madame Tussauds, before beautiful grounds of Regent’s Park. taking the next left onto York Gate, which continues onto York Bridge. Regent’s University, Inner Circle, Regent’s Park, London, NW1 4NS. Follow the road into Regent’s Park and the main entrance to Regent’s Baker Street is the closest Tube stop, University will be on your left-hand around ten minutes walk to the side. Please note that Baker Street university. Underground Station is not wheelchair accessible.
It’s not advised to travel to the venue by car as parking is expensive and limited.
Allow time to get lost on your way on the first day!
Do not lose your pass. Replacements will cost £20. Schedule updates and venue maps are available on-site and festival updates will be shown on info screens throughout the venue.
5 MAP OF THE VENUE
Don’t panic! The Venue is smaller than it looks and you will quickly get your bearings. It’s essentially a large quad with rooms on all four sides.
6 SCHEDULE OF EVENTS During the festival there are four All sessions are one hour, with the separate strands of events – this exception of mid-morning double means that at any one time four sessions which can last between an sessions are running concurrently. hour and a half and two and a half hours, depending on session and We film many sessions to help you speaker(s). choose. Some speakers decline to be filmed, however. Some sessions will be Friday will be our busiest day. much more popular than others. Where possible, we will flag this up so that NO AUDIO OR VIDEO RECORDING you can make your choices with the most information.
Between sessions there is always a half an hour break minimum, with a longer one for lunch (around 60 - 90 minutes depending on the session before lunch).
Enhanced Security To ensure all our safety, we now operate bag checks when entering the site. You should factor in a slight delay when entering the venue, in order to carry out this important check. And it goes without saying, even though they are cute, no pets.
7 FRIDAY Tuke Hall Tuke Cinema Final Draft Hall Darwin D06
8:00am PitchFest Bootcamp With BOB SCHULTZ 8.30am Not filmed (002)
9:00am Festival Opening With CHRIS JONES 9.30am Not filmed (001)
10:00am BREAK BREAK BREAK BREAK 10.30am
11:00am Trading Places... 'Downton Abbey' Reclaim your Creative Freedom Crafting the Perfect Character: Writing Comedy Script To Screen and Master Story Structure The Heart of Your Story With TIMOTHY HARRIS With JULIAN FELLOWES With EMMANUEL OBERG With JON GILBERT moderated by KAROL GRIFFITHS moderated by JOHN YORKE (004) (005) 11.30am (028) (003)
12:00 NOON
12.30pm
1:00pm
1.30pm LUNCH LUNCH LUNCH LUNCH 2:00pm Acting Up: Writing to Attract the Prime Time: In Conversation Writing The 21st Century Sitcom Writing Social Realist Magical Killer Cast With TONY JORDAN With NAT SAUNDERS & JAMES moderated by NIK POWELL Reality... Pin Cushion 2.30pm With MARK ARNOLD & MANUEL SERAFINOWICZ, SAM LEIFER, TOM With (033) DEBORAH HAYWOOD & GAVIN PURO, INGRID OLIVER, ANGELA BASDEN, DOUG NAYLOR moderated by HUMPHRIES DIXON, ASCHLIN DITTA moderated by KAROL GRIFFITHS (008) moderated by Anna Smith (007) (010) 3:00pm GEORGINA SHERRINGTON BREAK BREAK BREAK BREAK 3.30pm Deep Characterisation through Making the Mash Report The Television Players: Running the Show: Inside the Dialogue With TIM TELLING & CHRIS STOTT Understanding and penetrating Writers Room and beyond 4:00pm With KIRA-ANNE PELICAN, PHD moderated by JACK BERNHARDT the global TV market With DAVE With GUB NEAL & TONY JORDAN, (011) Not filmed (012) CLARKE & LOUISE PEDERSEN, SIMON HARPER CAROLINE PERCY moderated by (014) JULIAN FRIEDMANN (009) 4.30pm BREAK BREAK BREAK BREAK 5:00pm Story Concept: How to Rapidly Time And Relative Dimensions Coffee with… Robyn Slovo, Brit Writing The Hit TV Show: Generate, Assess, and Develop In Sound – Writing 'Doctor Who' Features Producer Dominic Minghella on 'Doc 5.30pm Story Ideas for Audio With LISA BOWERMAN With ROBYN SLOVO Martin' and 'Robin Hood' With SCOTT MYERS & JOHN DORNEY, MATT FITTON, moderated by RACHEL PATERSON With DOMINIC MINGHELLA Not filmed (015) JOSEPH LIDSTER moderated by INGRID (013) moderated by TOBY EARLE (062) OLIVER (018) 6:00pm BREAK BREAK BREAK BREAK 6.30pm What Are They Doing To My About Time! Creating TV’s Button Pushers! Subverting the Are You Writing For The Right Script? Script Editors Doctor Who norms through comedy Young Audience? 7:00pm Demystified With PAUL TESTAR & With PEARL MACKIE & INGRID OLIVER, With DAN MAZER With CATHERINE WILLIAMS & JOSEPH KAROL GRIFFITHS & MAY GIBSON, KATY MANNING moderated by JOHN RHODES LIDSTER, DEBBIE MOON, LUCINDA moderated by NASREEN AHMED moderated by moderated by LISA BOWERMAN (061) WHITELEY CERA ROSE (021) (019) PICKERING (016) 7.30pm GEORGINA SHERRINGTON
8:00pm The Pitch Factor Creating Alien, Hitchhiker's With ED NEUMEIER & JOHN RHODES Guide, X-Files and Batman... moderated by JOEY TUCCIO With DIRK MAGGS Not filmed (022) moderated by CHRIS JONES 8.30pm Not filmed (020)
9:00pm SATURDAY Tuke Hall Tuke Cinema Final Draft Hall Darwin D06
8:00am
8.30am
9:00am Inside the BBC Writers Room What Can Writers Learn From Writing in the shadows... Spies, The Three Wells of With ANNE EDYVEAN 'The Handmaid's Tale'? Espionage and Special Forces Screenwriting: Discover your 9.30am Not filmed (060) With LUCY V HAY With ROSSA MCPHILLIPS MBE deep sources of inspiration Not filmed (023) Not filmed (024) With MATTHEW KALIL Not filmed (039) 10:00am BREAK BREAK BREAK BREAK 10.30am Theme: What It Is, How to Find Mamma Mia: Here We Go Beyond the Pitch: Crushing the The Primary Colours of Story: It, and How to Use It to Enrich Again - Script to Screen Meeting Genesis 11:00am Your Story With OL PARKER With JOEY TUCCIO With DAVID BABOULENE PH.D With SCOTT MYERS moderated by MICHAEL CLARKSON (026) (027) Not filmed (051) Not filmed (025) 11.30am
12:00 NOON
12.30pm
1:00pm
1.30pm LUNCH LUNCH LUNCH LUNCH 2:00pm 1... The Beginning: Crafting the Going Wireless: Writing for What Can We Learn from the The Truth… What is it REALLY First Ten Pages That Hooks the Radio With JULIA MCKENZIE & Dark Masters of Horror? like after the first year being a 2.30pm Reader TIM STIMPSON, MING HO, JACK With STEPHEN VOLK pro screenwriter? With JOEY TUCCIO BERNHARDT (031) With LISA MCMULLIN & RACHEL (030) moderated by JONATHAN RUFFLE PATERSON (032) Not filmed (029) 3:00pm BREAK BREAK BREAK BREAK 3.30pm 2...The Middle: Mastering The VR, Outlining, Collaboration Why’s That Funny? The Starship Troopers... Midpoint & Production Breakdown with anatomy of what tickles your 'Do you want to know more?' 4:00pm With PHILIP HUGHES & TED WILKES the NEW Final Draft 11 With funny bone With ED NEUMEIER moderated by Not filmed (034) ALEJANDRO SERI With JONATHAN LYNN BOB SCHULTZ (017) (036) (042) 4.30pm BREAK BREAK BREAK BREAK 5:00pm 3... The End: Inevitable but Making My First Feature… 'Patrick Melrose' Screenwriter Something Old, Something unexpected... Why the end of With ROLAND MOORE & David Nicholls and how he New...The Art of the Adaptation 5.30pm your screenplay MUST deliver ANDROMEDA GODFREY, DIANA 'made the nation cry' With DEBORAH MOGGACH & JUHR DEBENEDETTI (040) With NIC RANSOME With DAVID NICHOLLS MARCY KAHAN, HUGH STODDART moderated by GUY ROWLAND (038) (063) Not filmed (037) 6:00pm BREAK BREAK BREAK BREAK 6.30pm I wrote a novel as well.... Netflix and chill: Writing TV Reflecting and Changing the With EMMA PULLAR Drama With ADRIAN HODGES World By Writing SciFi 7:00pm moderated by LUCY V HAY & FARAH ABUSHWESHA, SIMON With ED NEUMEIER & PHIL FORD, (035) DURIC, HANIA ELKINGTON, JUSTIN DEBBIE MOON YOUNG moderated by LISA MCMULLIN moderated by JEFF NORTON (041) (043) 7.30pm
8:00pm The 2018 British Screenwriters’ Awards With BETTY DENVILLE Not filmed (044) 8.30pm
9:00pm SUNDAY Tuke Hall Tuke Cinema Final Draft Hall Darwin D06
8:00am
8.30am
9:00am Jaw Dropper! Art and science Writing for Games 9.0 Substance and Subtext: Endeavour: Cracking the of twists and surprises With RHIANNA PRATCHETT & Finding the Fractal of your story Morse Code 9.30am With LEONARDO RIZZI CAROLINE MARCHAL, JACK With JANET VAN EEDEN Not filmed (046) Not filmed (047) ATTRIDGE Not filmed (065) moderated by MARTIN ALLTIMES Not filmed (045) 10:00am BREAK BREAK BREAK BREAK 10.30am The Scott Myers Double Bill: The Long Good Friday Nordic Noir... Writing compelling What will actually happen to Good Vs Evil Script to Screen crime drama your finished script? 11:00am With SCOTT MYERS With BARRIE KEEFFE With HANS ROSENFELDT Live script edit Not filmed (048) moderated by ERAN CREEVY (064) With LUCY V HAY (050) Not filmed (049) 11.30am
12:00 NOON
12.30pm
1:00pm
1.30pm LUNCH LUNCH LUNCH LUNCH 2:00pm Robocop: Script to Screen The Primary Colours of Story: Writing Authentic, Haunting and Proximity is Power: Getting and With ED NEUMEIER Character Contrasts 2.30pm Human stories keeping the Gatekeepers on side moderated by CHRIS JONES & BOB With DAVID BABOULENE PH.D (054) With RHONA FOULIS & VICTORIA SCHULTZ (053) MORRIS, ZAK ABBY moderated by LISA (052) MCMULLIN Not filmed (055) 3:00pm BREAK BREAK BREAK 3.30pm Session The Conundrum of Political Writing Horrible Histories With FARAH ABUSHWESHA Comedy: Yes Minister With BEN WARD & LUCY CLARKE, 4:00pm (check app for updates) (057) With JONATHAN LYNN & FREDERICK HENRI WARD EDWARD ROBIN BUTLER (058) moderated by GEORGINA SHERRINGTON (056) 4.30pm BREAK BREAK BREAK BREAK 5:00pm LondonSWF Close With CHRIS JONES 5.30pm Not filmed (059)
6:00pm Unofficial drinks at the Globe till late 6.30pm
7:00pm
7.30pm
8:00pm
8.30pm
9:00pm THE NETWORK LSFConnect.com is our private and for about a month after the festival. delegate network where you can It’s available year round and you can connect with other screenwriters, periodically log in for inspiration or producers and delegates attending instruction from one of the past session this year. videos.
It’s also where we share all the past As we edit session videos from this video sessions – there are around 300 year they will be uploaded into the online now. network (it takes around three months to complete them all). There are forums, groups and a chat room where we congregate to discuss If you missed your invite, drop us an anything related to the festival and email and Viktoria Tolidou will sign you screenwriting. up – [email protected]
There is a two-minute orientation video in the network when you log in – try and watch it. The network will get VERY busy in the run up to the festival,
Where to eat Onsite there is the refectory which will be serving breakfast, lunch and dinner. There is also a Starbucks and of course at peak times you can leave the site for other options. We fully recommend the breakfast as both great value AND an opportunity to take breakfast meetings with new friends. There is free water from fountains throughout the site.
14 APRIL 5 - 8, 2019
JOIN US FOR PARTIES, PANELS AND MENTORSHIP WITH SOME OF HOLLYWOOD’S TOP AWARD-WINNING SCREENWRITERS, PRODUCERS, MANAGERS, AGENTS AND STUDIO EXECUTIVES!
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PREVIOUS SPEAKERS AND MENTORS INCLUDE:
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JJ KLEIN DIANA OSSANA WENDY CALHOUN CATE ADAMS VP, Current Programming for FX Oscar-winning TV Writer, Showrunner: VP, Warner Bros. Pictures Networks: THE STRAIN, BETTER Screenwriter: STATION 19, NASHVILLE, Creative Group: INHERENT VICE, THINGS, AMERICAN CRIME STORY BROKEBACK MOUNTAIN15 REVENGE, JUSTIFIED NICE GUYS, MIDNIGHT SPECIAL MASTER STRUCTURE, KNOCK YOUR STORY INTO SHAPE AND PITCH YOUR IDEA
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16 MASTER STRUCTURE, KNOCK YOUR STORY INTO SHAPE AND PITCH YOUR IDEA
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JULIAN FELLOWES TIMOTHY HARRIS ONLINE COURSES: screenwriter, director screenwriter Credits include: Downton Abbey, Credits include: Trading Places, STORY FOR VIDEO GAMES Gosford Park Twins 15% LSF attendee discount Author of several best-seller novels, Timothy is a BAFTA nominated Oscar winner for Gosford Park and Screenwriter, Author and Producer. STORY FOR FACTUAL CONTENT creator, writer and executive producer of the multi award-winning Downton STORY FOR SCREENWRITING Abbey. STORY FOR SCRIPT DEVELOPMENT JONATHAN LYNN SCOTT MYERS screenwriter, director, playwright screenwriter, producer, educator Credits include: Yes Minister, Clue Screenwriter of ‘K-9’ with Jim Jonathan co-wrote and created the Belushi and ‘Trojan War’ with “I categorically know that this course helped quintessential political comedy 'Yes Jennifer Love Hewitt. Minister'. Screenwriter and producer, head me get my job in TV drama” honcho at ‘Go Into The Story’ and Black List offical blog scribe.
Apply coupon code LSF18 at checkout Apply ED NEUMEIER www.johnyorkestory.com/courses screenwriter, producer Credits include: Robocop & Starship Troopers Brilliant satarist and Sci-Fi legend Ed Neumeier joins the line up for LSF18. 17 SCREENWRITERS
JACK BERNHARDT MICHAEL CLARKSON screenwriter writer, director Credits include: The Lentil Sorters Credits include: His Dark Materials, Recipient of the BBC Radio Comedy The Feed Writer's Bursary, Jack has written for Michael is one half of The Clarkson a wide range of shows and regularly Twins, writers repped by Independent contributed to series such as The Talent and ICM. News Quiz and Dead Ringers.
JOHN DORNEY writer SIMON DURIC screenwriter, director, producer Credits include: Doctor Who, The Credits include: The Innocents, Later Avengers, Survivors Simon is the Co-creator, Co-writer John’s scripts have been produced on and Executive Producer of new Netflix stage, radio and as audiobooks and he Original show 'The Innocents'. has won multiple international awards.
JANET VAN EEDEN HANIA ELKINGTON screenwriter, educator screenwriter Screenwriter and Head of Post Credits include: The Innocents Graduate Studies at AFDA Durban’s Hania's first project to his screens, 'The Film, Television and Performance Innocents', co-created with Simon Duric School premieres on Netflix this August.
PHIL FORD MATT FITTON screenwriter writer, script editor Credits include: The Sarah Jane Credits include: Doctor Who, Terry Adventures, Dr Who, Torchwood Nation's Survivors Award winner Phil has written Matt writes for a/o Big Finish's 'Doctor hundreds of hours of classic TV Who' range, including the continuing including The Sarah Jane Adventures, audio adventures of Paul McGann's Dr Who and Torchwood. Eighth Doctor.
JON GILBERT DEBORAH HAYWOOD screenwriter, script Consultant screenwriter Credits include: The Zigzag Kid Credits include: Pin Cushion, Lady Jon is a screenwriter and script Margaret consultant with over fifteen years’ Deborah's feature debut Pin Cushion experience working in the U.K. and was released in July 2018 to four-star U.S. film industries. reviews across the board and was critic’s choice in The New York Times.
18 MING HO ADRIAN HODGES screenwriter screenwriter Credits include: The Things We Adrian is the creator of 'The Never Said, Eastenders, Casualty Musketeers' and 'Primeval', and has Ming is an award-winning writer for written several Brit films, including Ken stage, screen and radio. 'My Week With Marilyn'
TONY JORDAN MARCY KAHAN writer, producer screenwriter, playwright Credits include: Hustle, Life On Credits include: War and Peace, The Mars, Holby Blue Wizard of Oz, Antonia & Jane He’s written for and created some of Marcy Kahan is an award-winning the most iconic and successful British radio and theatre playwright and TV series, including Life on Mars and screenwriter. East Enders.
BARRIE KEEFFE RICHARD KURTI screenwriter, playwright screenwriter Credits include: The Long Good Credits include: Wolfblood, Primeval Friday Richard and his writing partner Bev The Long Good Friday, easily one of Doyle broke into the business by the top ten British films of all time! writing and selling a spec script, Newton's Law, which led to 14 further movie commissions.
SAM LEIFER JOSEPH LIDSTER screenwriter, director screenwriter Credits include: Plebs, How Not To Credits include: Torchwood, Live Your Life Wizards Vs. Aliens Sam is the co-creator, writer and Joseph has written scripts for radio director of 'Plebs', the multi-award- and television, including episodes winning Ancient Roman sitcom. of Torchwood, The Sarah Jane Adventures, Wizards Vs Aliens and Hetty Feather.
DIRK MAGGS DAN MAZER writer, director screenwriter, director Credits include: The Hitchhiker's Credits include: Borat, Bruno, The Guide to the Galaxy Dictator, Dirty Grandpa Described as as 'The Steven Spielberg Dan is currently making waves writing Of Audio' (by an over zealous and directing the latest Sacha Baron marketing department) and a 'National Cohen phenomenon 'Who is America?' Treasure' by Neil Gaiman.
LISA MCMULLIN DOMINIC MINGHELLA screenwriter screenwriter, producer Credits include: Doctors Credits include: Doc Martin, Hamish Lisa’s first episode of BBC drama Macbeth Doctors aired in June and she has been Dominic has an exceptional reputation commissioned for two more; as well as for creating, producing and writing an episode of Eastenders. internationally successful drama.
19 DEBORAH MOGGACH DEBBIE MOON novelist, screenwriter screenwriter Credits include: Pride & Prejudice, Credits include: Wolfblood, Tulip Fever Hinterland Deborah has written 20 novels, 5 of Debbie is the BAFTA-winning creator which she adapted for TV and was and lead writer of the CBBC fantasy BAFTA nominated for Pride and drama series Wolfblood, which ran for Prejudice, starring Keira Knightley. five series and is shown in nearly 60 countries.
ROLAND MOORE DOUG NAYLOR screenwriter writer, producer, director Credits include: Land Girls, Doug is best known for co-creating and Rastamouse, Smack the Pony writing the comedy series ‘Red Dwarf’ Roland created the award-winning which has gone on to achieve cult returning drama series Land Girls for status... now rebooted! BBC1 and has written for a range of television series.
DAVID NICHOLLS EMMANUEL OBERG screenwriter, novelist screenwriter, consultant Credits include: Starter for Ten, Credits include: Double Game Patrick Melrose Over the last few years, Emmanuel has Award winning writer David's most written and developed feature films for recent work was Sky Atlantic's critically Working Title, Film4 and Gold Circle. acclaimed 'Patrick Melrose' starring Benedict Cumberbatch.
OL PARKER RACHEL PATERSON screenwriter, director screenwriter Credits include: Mamma Mia! Here Credits include: Casualty We Go Again, The Best Exotic Rachel finished her first spec script in Marigold Hotel 2016, and started writing for 'Casualty' After making his start on Grange Hill, in 2018. Her first episode will air in Ol's career path has led him all the way October 2018. to the BAFTA nominated 'Best Exotic Marigold Hotel'.
RHIANNA PRATCHETT HANS ROSENFELDT games writer, developer screenwriter, author Credits include: Heavenly Sword, Credits include: The Bridge, The Tomb Raider Tunnel, Marcella Rhianna is a sixteen-year veteran of Hans is one of the creators of the the video games industry is one of the incredibly successful and award- most respected writers and narrative winning Scandinavian TV-series 'The designers in her field. Bridge'.
JONATHAN RUFFLE NAT SAUNDERS writer, producer screenwriter Credits include: Tommies, Never Credits include: Misery Bear, Big Mind The Buzzcocks Train Jonathan created, writes and produces Nat and James created Netflix comedy the a four-and-a-half year real-time Sick Note and are Creative Directors at drama - Tommies which airs on BBC Stolen Picture, set up by Simon Pegg Radio this autumn. and Nick Frost. 20 JAMES SERAFINOWICZ LUCY VAN SMIT DEBBIE MOON screenwriter novelist, screenwriter screenwriter Credits include: Misery Bear, Big Credits include: The Hurting Train Lucy's debut novel The Hurting was Nat and James created Netflix comedy brought by JK Rowling’s publisher – Sick Note and are Creative Directors at the legendary Barry Cunningham and Stolen Picture, set up by Simon Pegg Chicken House Books. and Nick Frost.
HUGH STODDART TIM TELLING screenwriter writer Credits include: We Think the World Credits include: The Mash Report of You, Remembrance Tim is the editor of the Daily Mash, Hugh’s first film Begging the Ring won the UK’s most popular original satire the Grierson Award and was screened website, and lead writer of the hit by the BBC, beginning a long career as BBC2 topical show The Mash Report. a screenwriter.
STEPHEN VOLK BEN WARD screenwriter, playwright screenwriter Credits: Ghostwatch, Afterlife Credits include: Horrible Histories, Stephen Volk is a BAFTA-winning Danger Mouse writer best known for the controversial Ben has written for numerous award 1992 BBCTV "Hallowe’en hoax" winning children’s comedies and Ghostwatch. dramas, including 'Horrible Histories'.
LUCINDA WHITELEY JUSTIN YOUNG screenwriter, producer screenwriter, producer Credits include: Horrid Henry, Credits include: Holby City, Fimbles, Maisy Eastenders, Casualty Writer and Producer of over 700 TV Accomplished playwright and TV programmes, Lucinda is co-founder writer Justin is now Head Writer and and Creative Director of Novel Consultant Series Producer on Holby Entertainment. City.
HANS ROSENFELDT screenwriter, author
21 PEOPLE WHO GET STUFF MADE
MARTIN ALLTIMES NATALIE BRENNER ceo/founder | the imaginati studio founder partner Martin and Imaginati Studios are Credits include: Journey's End, currently focused on creating games Dorian Gray based on ‘The Planet of Apes’ Natalie Brenner has over 30 years of franchise on console and PC. experience in the film industry starting her career in film sales with J&M Entertainment
LUCY CLARKE DIANA JUHR DEBENEDETTI screenwriter, producer actress, screenwriter Credits include: Horrible Histories, Credits include: 2:Hrs, Dream Date Fabulous Actress Andromeda and Screenwriter Lucy Clarke has been a comedy writer Diana founded Makelight Productions for 15 years following an award- in 2010 to develop and produce winning career as a TV producer. entertaining independent films.
JULIAN FRIEDMANN RHONA FOULIS film, tv and literary agent executive assistant Agent and great supporter of Credits include: Salmon, The Man in emerging talent. the High Castle Julian has years of experience as a Rhona is Executive Assistant to Frank literary agent and was the founder of Spotnitz and Jamie Hall at Big Light ScriptWriter magazine. Productions, a TV drama production company.
ANDROMEDA GODFREY SIMON HARPER actress, screenwriter series producer of holby city Credits include: 2:Hrs, Dream Date Credits include: Holby City Actress Andromeda and Screenwriter Simon has many years of script editing Diana founded Makelight Productions under his belt and is now Series in 2010 to develop and produce Producer on Holby City. entertaining independent films.
GAVIN HUMPHRIES NICOLA LARDER producer executive producer Credits include: Pin Cushion Credits include: Marcella, The Gavin is a BAFTA nominated and Tunnel, Dracula Cannes winning producer having Nicola Larder joined team Buccaneer worked on projects with the British Film by pitching 'Marcella' to Tony Wood as Institute, Google, Film4, Tate Modern an 8 part series penned by Scandi-noir and the BBC. writer, Hans Rosenfeldt.
22 JULIA MCKENZIE GUB NEAL head of bbc radio comedy producer Credits include: The Jason Byrne Credits include: Prime Suspect, Show, French & Saunders Cracker, Queer As Folk Julia produces comedies for Radio 2. Gub is an award-winning producer who has headed up the Drama departments at both Channel 4 and Granada.
LOUISE PEDERSEN NIK POWELL CEO, all3media international producer, director of nfts Louise recently returned to lead Credits include: The Crying Game, all3media International as CEO after Mona Lisa spending 18 months as MD of drama Virgin co-founder turned Producer, Nik prod. co. Playground Television. is the man behind some of the most successful and acclaimed British films of all time.
GARY PHILLIPS ROBYN SLOVO MD, founder, moviehouse producer Gary's Moviehouse Entertainment Credits include: Tinker, Tailor, is one of very few truly independent Soldier, Spy film sales and production companies Former exec at BBC Films and head operating in London. of film at Company Pictures, Robyn is now an independent producer.
CHRIS STOTT DAVID NICHOLAS WILKINSON executive producerentertainment producer Credits include: The Mash Report Credits Include: The First Film, How Chris is the creator and executive To Change The World producer of 'The Mash Report'. David has been involved in the production/ distribution of over 100 British feature films with budgets from £20,000 to $16 million.
CATHERINE WILLIAMS JOHN YORKE series co-creator, head writer md angel station Credits include: Pet Squad, Bear Credits include: Wolf Hall, Behaving Badly, Teletubbies Shameless, Life On Mars After a short stint in ‘grown up drama', John Yorke is Managing Director of she has been regressing ever since… Angel Station where he works as a drama producer, consultant and lecturer on all forms of storytelling.
23 DIRECTORS
ERAN CREEVY CRAIG MCCALL director, screenwriter director, producer Credits include: Shifty, Welcome To Credits include: Cameraman: The Life The Punch, Collide & Work of Jack Cardiff Eran wrote and directed the BAFTA Craig is an award winning commercial nominated Shifty; he most recently re- and music video director. wrote The Killer for John Woo.
SIMON RUMLEY director Credits include: Fashionista Having directed 9 feature films and 2 anthology films, Simon Rumley is one of the most successful and prolific UK directors of his generation.
ACTORS
MARK ARNOLD LISA BOWERMAN actor audio director, actress Credits include: Teen Wolf, Blade Credits include: Doctor Who, Runner 2049 Casualty, Bernice Summerfield Mark has appeared in films such as Lisa is a prolific actress and audio Florence Foster Jenkins, Kingsman: director for among others Big Finish The Golden Circle, and Blade Runner Productions. 2049.
ANGELA DIXON PEARL MACKIE actress actor Credits include: Never Let Go, Her climb to world prominence Offensive exploded through time and space when Angela Dixon is an international she was announced as the first openly- actress and star of Howard J Ford's gay companion of Doctor Who in 2016. abduction thriller feature film 'Never Her run as Bill Potts dazzled fans and Let Go'. critics alike.
KATY MANNING INGRID OLIVER actress actress, screenwriter, director Credits include: Doctor Who, Iris Credits include: Doctor Who, Peep Wildthyme, Casualty Show Katy’s enchanted millions by playing Ingrid is best known as one half of the Doctor Who’s Jo Grant opposite Jon comic double act 'Watson & Oliver'. Or Pertwee. maybe as Osgood on 'Doctor Who'.
24 PEOPLE WHO KNOW STUFF
ZAK ABBY FARAH ABUSHWESHA development team assistant producer, founder of rocliffe Zak is also the assistant to the Emmy Credits include: Irreplaceable You and BAFTA Award winning producer Farah is a BAFTA nominated producer, Phillippa Giles. best selling author and founder of the BAFTA Rocliffe New Writers Competition.
NASREEN AHMED JACK ATTRIDGE script editor co-founder, flavourworks Credits include: Doctors, Coronation Credits include: ERICA Street Using brand new in-house technology, Script Editor on 'Doctors' and recently Flavourworks aims to revolutionise the also story edited a five week special on space between film and games. the subject of Homelessness.
MA serial storytelling International Master’s Program ifs internationale lmschule köln Start: September 2019 | Apply by January 7, 2019 www. lmschule.de/ma-serialstorytelling
Photo: pixabay.com/pixel2013
25 DAVID BABOULENE PH.D DAVE CLARKE author, scriptwriter, story consultant EVP content, DRG and atrium TV Credits include: Story Theory Dave is a Television Executive with 20 David's research into narrative theory has years experience covering broadcast, demonstrated how the power of every commissioning, distribution and story lies in. production.
TOBY EARLE ANNE EDYVEAN tv&film critic head of BBC Writerstoom Toby Earle is the TV & Entertainment Credits include: The Break, Holby City, Editor at London Live, who writes and Casualty presents What to Watch, a weekly show Anne is the head of the BBC which interviews TV and film talent. Writersroom, which finds and develops new writers (and some directors) and champions them across television radio and online. MAY GIBSON KAROL GRIFFITHS producer, script development script editor & supervisor Credits include: The Musketeers, Credits include: How I Met Your Wolfblood Mother, Friends May has worked on the development Karol Griffiths is a successful script editor and production of many television drama, and development consultant with over comedy and children’s programmes for twenty years of experience. the UK and the US. LUCY V HAY PHILIP HUGHES script editor screenwriter, educator Bionic blogger, script editor and the Credits include: Thunderpants, I Want voice of new writers! Candy Legendary for her enthusiasm and Phil is Course Leader for BA(Hons) knowledge which she shares with her Screenwriting & Producing degree community at Bang2Write. Core member and MA Writing for Screen & Stage at of the LSF team. Regent’s University, London.
CHRIS JONES MATTHEW KALIL filmmaker, author screenwriter, director, script editor Credits include: Oscars shortlisted Credits include: The Three Wells of Gone Fishing, the Guerilla Handbooks Screenwriting and a bunch of feature films He has written and co-written over Chris has spent his life making movies, 40 produced TV shows and has been writing books and helping others make helping screenwriters. their movies.
Don’t dehydrate! Bottled water can become expensive over the three days, so plan to bring a bottle and refill at one of the three filtered and chilled water fountains onsite. You can see their locations on the venue plan.
26 CAROLINE MARCHAL ROSSA MCPHILLIPS MBE game designer screenwriter Credits include: Heavy Rain, Beyond: Credits include: An MBE (for services Two Souls he can't tell you about) Caroline is a narrative game designer Rossa left the army after receiving his with over 15 years of experience in the MBE and is now pursuing a career as a industry, passionate about interactive screenwriting, specialising in military and storytelling. spy projects.
VICTORIA MORRIS KIRA-ANNE PELICAN development assistant PhD, script consultant and We’re always on the look-out from for Kira-Anne is an independent script interesting, provocative and character-led consultant, a PhD researcher in television drama. Screenwriting, and visiting tutor at the Met Film School, London.
LORETTA PREECE EMMA PULLAR producer, producer, script editor novelist Loretta has been personally responsible Credits include: Curly from Shirley, for storylining over 2000 episodes of Skeletal mainstream British television. Emma is a writer of dark fiction and children’s books.
MANUEL PURO NIC RANSOME casting director script editor, screenwriter Credits include: Moon, The Machine, Nic has written for Holby City and Scar Tissue Freefonix and has developed TV for Manuel has worked with industry heavy Silver Pictures Television, Starz, Artists hitters including Guillermo del Toro, Studio and Bentley Productions. Richard Attenborough and Nic Roeg, Guy Ritchie and Matthew Vaughn.
JOHN RHODES LEONARDO RIZZI co-founder of ScreenCraft writer, script editor, educator John is co-founder of ScreenCraft Media, Leonardo is incredibly passionate about a screenwriting talent discovery and storytelling in all its forms. development company.
JON SEN ALEJANDRO SERI screenwriter, director marketing & communications Credits include: Casualty, Holby City Credits include: Placebo Effect, Final Writer, Director Jon recently directed Girl Casualty’s ground breaking 'One' – an Alejandro Seri is an award-winning, entire episode in one shot. bilingual screenwriter and director.
27 GEORGINA SHERRINGTON PAUL TESTAR development producer script editor Georgina Sherrington has worked in Credits include: Tripped, Endeavour development at the BBC and in the indie Paul is a script editor for leading drama sector for producers including Maxine company Mammoth Screen. Lapiduss (Friends, Roseanne) and BJ Rack (Black Hawk Down).
JOEY TUCCIO TED WILKES roadmap writers, CEO screenwriter, educator Roadmap Writers aims to bridge the Ted currently teaches Screenwriting and gap between fresh, talented voices and Digital Media at Regent's University. the industry execs who can make things happen.
MODERATORS
GUY ROWLAND BOB SCHULTZ screenwriter writer, producer Credits include: Sam Jackson's Credits include: Great American Secret Video Diary Pitchfest Screenwriter, composer and sound Bob has been the Executive Director designer with a passion for storytelling of the Great American Pitchfest & in all of those forms. Screenwriting Conference (GAPF) for 13 years.
ANNA SMITH CERA ROSE PICKERING film critic, broadcaster screenwriter, playwright, actor Credits include: Downton Abbey, A critic for Metro, The Guardian, Sight Endeavour & Sound and Time Out, Anna is a When Cera isn’t writing, she can be regular on Radio 4 and also appears found performing on stage and screen, on BBC and Sky TV. appearing in films and TV shows.
BETTY DENVILLE actress, awards host Credits include: Endeavour, M.I.High, Seed of Chucky Betty is the youngest of 14 generations of actors in her family. She has worked on stage and on screen both in film and in TV from a young age.
28 Open DoorOpen Door For screenwriters... For screenwriters... FIND OUT HOW THE TV INDUSTRY REALLY WORKS
• Open Door introduces you to the people behind the scenes, the people who are actually hiring screenwriters right now – and tells you what they are looking for. • We have a regular guide to job vacancies, shadow schemes, and industry backed training initiatives and competitions. • Don’t waste years of your life writing a project that is already being made: Open Door tells you what is actually being put into production months long before it hits your screen. • Hear about the realities of selling scripts, how to approach agents and producers, how to handle script meetings, and much more.
OPEN DOOR IS LIKE HAVING A MENTOR TO GUIDE YOU THROUGH YOUR CAREER
Find out more at: www.screenwritinggoldmine.com/open-door
29 MAIN SESSIONS Over the three days of the London Screenwriters’ Festival we will run more than one hundred seminars, workshops and networking events for professional screenwriters. We film most sessions, so if you miss one, or two clash, you’ll be able to catch up later online.
Main sessions take place in the four main rooms: Tuke Hall, Final Draft Hall, Tuke Cinema and the Darwin D06. At any one moment there will be four sessions to choose from.
30 ADDITIONAL SESSIONS • There will be around 30 delegates pitching. • The session lasts 90 minutes. • Pitches rotate every five minutes, so make those minutes matter. • There will be a queue for each pitchee, so choose who you want to pitch to and get in line. • Once you have pitched, choose who you want to pitch next and get in line. Pitchfest 2018 • Do the maths, you will get between An opportunity to meet and chat with 3 and 8 pitches depending on which influential agents and active producers. queues you join. Be tactical. The people who have the power to make • Get there early to be first in line! your projects happen. • After each session, if a pitchee wants to discuss your project further, it’s up to On the day of your pitch... you to get contact details and follow • Turn up ON TIME to your pitch. up. We will not supply their contact • There will be around 10-14 execs, details later – so please don’t ask! producers or agents present for you to pitch to.
Hollywood Pitchfest via Skype Get to pitch – face to face over Skype – with Hollywood producers and execs. Sessions are 90 minutes and you should get around 7 or 8 pitches in during that time. It’s the same rules as the Great British Pitchfest, only it will take place over Skype in the evenings of the festival.
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Authorised and regulated by the Financial Conduct Authority. them in depth. You don't need to book a place, just turn up (be aware that sometimes it can get a little busy). Please note that not all speakers will be available for Script Chats. Sessions that will have a ‘Script Chat’ will be marked accordingly in the schedule.
Script Chat It’s one thing sitting in an audience listening to that producer, agent or writer… it’s an entirely different thing getting real face-to-face time with them. That’s why we set up ‘Script Chats’ – special, intimate and informal chats with speakers that take place directly after their sessions. The Pitch Factor Feel the fear and do it anyway! Pitch in Many of our speakers participate in front of a live audience and win CASH! our informal “Script Chats.” Ranging Put £5 in a hat and pitch your script in in length from 30-90 minutes, this is front of a panel of industry professionals a great opportunity to get to know at our annual Pitch Factor, a relaxed and
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Authorised and regulated by the Financial Conduct Authority. friendly environment where delegates might get an invite to submit your work, pitch their project in two minutes or less. you might not… but you will certainly You do not need to book for the Pitch get an experience you won’t forget! The Factor, just turn up. session runs on a first come, first served basis and you will only find out who is in the elevator when you step inside. The Elevator Pitch will take place on Saturday at 1:15pm in the Tuke Elevator on the Ground Floor.
The Elevator Pitch The elevator doors open, you step inside only to find yourself alone with a top executive… You have 90 seconds to get them to accept your business card! Mentoring Labs This micro workshop, based on the At the festival we run a number of popular myth of writers meeting execs intensive ‘closed door’ labs with experts in elevators, is a great opportunity to try and writers in hyper focused fields. out your fabulous 90-second pitch. You
34 SCR IPTS WA N TED
This spring we called 413 British production companies and literary agencies and we tracked down the few who actively want to read scripts from new, unrepresented, writers.
WE PUT THEM IN A BOOKLET CALLED CONNECT! CONNECT! costs £20 normally, but this weekend only YOU CAN SAVE 25% WITH A SPECIAL LSF DISCOUNT.
As well as the 35 companies with open doors, CONNECT! includes practical tips on making the best possible ‘cold approach’, plus details of 60 other prodcos who will read cold submissions from writers with agents.
FIND CONNECT! IN THE LSF BOOKSTORE
www.screenwritinggoldmine.com
(between 3 and five pages) of your script. These are closed sessions and they run throughout all three days of the festival.
The Actors’ Table Read The actors’ table read is an opportunity for you to get your screenplay worked on by professional actors and a director.
This has proven to be our most Script to screen LIVE! successful initiative to date with 99.8% Our Script To Screen LIVE events are positive feedback from the 200 people where we play the film and discuss it involved last year. with the writers on stage, in real time. We suggest you print the script and bring If you submit a script to the process and it with you for these AMAZING sessions. you are selected you will attend a one All scripts can be downloaded via the hour session where the director and Submissions, Booking and Info Page the actors will work on one sequence and on the App.
35 Book Signings Alien… Did you write a Many of our speakers have a book script? that they have written, and will We opened a mini challenge JUST be available for signings in the for LSF delegates, to write a three bookstore. page audio only story set in the Alien universe. These signings will be indicated in the schedule. Turn up early as often a Join us at 8.00pm on Friday to find long queue forms. out whose script won, and hear it performed live, edited, sound Check the app, online schedule engineered and premiered during the and info screens for when and session. where book signings will take place. Xenomorphs here we come!
36 SCRIPT TO SCREEN Robocop A guilty pleasure to end LondonSWF18 on, and a wonderful way to spend Sunday afternoon.
In 1987, Screenwriter Ed Neumeier showed the world a brilliant, visceral view of the future: Privatized police forces, urban decay, and over reliance on technology of humanity combine to make New Detroit a violent wasteland. Only one cyborg could save the citizens from the criminal gangs running rampant: ROBOCOP. Part man. Part machine. All cop.
Equally funny, invigorating, scathing, and sensational, Robocop spawned sequels, a television series, video games, and thirty years of devoted fans. In the latest of LSF’s exclusive Script-To-Screen series, you can read the Robocop script in advance, then watch the movie as Neumeier discusses the experience writing one of the most effective social satires of all time.
Running out of Juice? Throughout the venue, on sponsor tables, you will see smartphone charging stations where you can recharge your devices.
There are around 50 USB slots available, so hunt one down and get your self back to 100%! You will need your own device cable to recharge.
37 BRITISH SCREENWRITERS' AWARDS The 2018 British The Nominations... Screenwriters’ Awards This year at the London Screenwriters’ Outstanding Newcomer for British Festival we will run the fifth British Feature Film Writing Screenwriters Awards, honouring • Loving Vincent by Dorota Kobiela / outstanding writing from newcomers and Hugh Welchman / Jacek Dehnel established screenwriters in both film and • Beast by Michael Pearce television. • The Ritual by Joe Barton (Based on the novel by Adam Nevill) And we will be expanding categories this • Dark River by Clio Barnard (Based year too, championing even more great in part on the novel by Rose British screenwriting. Tremain) • God’s Own Country by Francis Lee Hosted by screenwriter, writer and comedian Deborah Frances-White and Best British Feature Film Writing Emmy Winning producer John Yorke, • Darkest Hour by Anthony McCarten who is also the former boss of Ch4 and • The Death of Stalin by The Writing BBC drama departments. Team • Lady Macbeth by Alice Birch (Based You can be sure it will be a star studded on Lady Macbeth of Mtsensk by night to remember. Nikolai Leskov) • Three Billboards Outside Ebbing, Missouri by Martin McDonagh • I Am Not A Witch by Rungano Nyoni
38 BRITISH SCREENWRITERS' AWARDS Best British Children’s Television • Patrick Melrose by Edward St. • Creeped Out by Bede Blake / Aubyn / David Nicholls Robert Butler / Denis McGrath • So Awkward by The Writing Team Best Crime Writing on Television • Like Me by Adam Tyler • Marcella by The Writing Team • Class Dismissed by The Writing • McMafia by The Writing Team Team • Kiri by Jack Thorne / Rachel De- • Go Jetters by The Writing Team Lahay • Top of the Lake by Jane Campion / Outstanding Newcomer for British Gerard Lee Television Writing • Collateral by David Hare • The End of The Fucking World by Charlie Covell (Based on Best Comedy Writing on the Comic book by Charles S. Television Forsman) • Famalam by Tom Marshall / • Murdered for Being Different by Akemnji Ndifornyen Nick Leather • Timewasters by Daniel Lawrence • Save Me by Daniel Fajemisin- Taylor / Barunka O’Shaughnessy Duncan / Marlon Smith / Lennie • Derry Girls by Lisa McGee James • Sick Note by Nat Saunders / James Serafinowicz Best British TV Drama Writing • Motherland by The Writing Team • Liar by Harry Williams / Jack Williams The Fitzmaurice Award and • Our Girl by Tony Grounds / Loren Impact50 Best Film Awards To Be Mclaughlan / Amy Roberts Announced On The Evening • The State by Peter Kosminsky • Broken by Jimmy McGovern / Shaun Duggan / Colette Kane / Nick Leather 39 NETWORKING: A BLUFFER'S GUIDE By Chris Jones it’s OK to just walk up and start talking. Booze, a darkened room and a bit of Talent is great, but relationships get you music makes it easier. hired. It’s not about collecting business cards and convincing yourself that those Don’t be afraid cards equal a relationship – it’s about The most important thing to remember REALLY connecting with other people in is that the person you are approaching a meaningful way. is as nervous as you. They have insecurities too. In fact, the real irony is That’s why we network. To make new that they will probably be thankful that friends within our professional sphere. you came to them, and secretly wish So the real secret to networking is that they were as good at networking as to just hang out like you would with you! Yes, I get it, you don’t want to do it. friends, but move around the group(s) None of us really enjoy it. But films don’t more systematically. You are looking for get made in a vacuum and we all need people with whom you click, with shared friends. So take the plunge. You will be values and vision, people who YOU can pleasantly surprised. help, and lastly, people who can help you too. Look people in the eye and The best thing about networking at the shake hands confidently London Screenwriters’ Festival is that When approaching, make eye contact, you are already amongst friends. So smile, introduce yourself, shake hands don’t be shy. (not limply) and speak up. When someone shakes hands with that ‘limp’ Networking Events handshake, you are sending a very These events work because we all agree direct message – I don’t want to touch to get together in one space at the same you. If you mumble when talking, you time with an implicit agreement that are simply projecting: What I am saying is not worth listening to. There are
40 NETWORKING: A BLUFFER'S GUIDE plenty other people in the room, why have something genuinely relevant, would anyone waste time with someone illuminating or valuable, of course get who won’t shake your hand or speak involved. Remember, experienced up? Get out of your comfort zone and people talk about the industry all the time COMMUNICATE with confidence and and most of us can’t compete on that clarity. level, we just don’t have the knowledge, peer group and relationships. But talking Ask a question to start the relationship. about ‘the kids’, assuming you both have An easy way in is to ask a question… children, IS somewhere that you will both ‘How are you feeling?’, ‘Did you see share expertise, opinion and rapport. that last session?’, ‘How did you get on in your pitches?’ Keep opening questions lighter, more personal and Don’t Stay In One Place conversational. There will be time after Every conversation has a natural life you have made friends to ask about how – when that’s over, move on. Don’t to send them a script. linger awkwardly. It’s totally fine to say ‘It was great to meet, and there are so many others I want to meet here Ask questions and listen too, so I am going say to goodbye for Don’t launch into how cool you are and now…’ Shake hands, smile and move how amazing your script is. Doing this on. And if someone says that to you, could just get you into the competitive don’t get upset. It’s part of the unwritten cycle of mine is better than yours, agreement we make with each other at and that’s NOT a good way to make these professional events and parties. powerful new friends and allies. Ask questions. Interesting questions. Even personal questions. Be genuine in Your need to be ‘right’… your conversation and listen. You’d be The need to be ‘right’ is toxic - we amazed how much more likeable most can all see it in others, but so rarely in of us become if we just keep our mouths ourselves. Being ‘right’ will shut down shut for more of the time. When you conversations, even when you are, in
41 fact, ‘right’! So give it up and choose to in the long run. It also helps you move listen instead. I found out a long time ago around the room with great agility. that ‘right’ and ‘wrong’ are opinions and not facts. Be credible You may not know everything about the Compliment honestly, but business and that’s OK. don’t go overboard Being credible is about learning and Everyone likes to be complimented, applying that knowledge. It’s about so offer compliments. But don’t go humility and courage. It’s not just about overboard, you will come across connections and credits. And we all as a bit desperate. Equally, don’t have something to offer. Bottom line, do be disingenuous; we can all spot a not bullshit the bullshitters. Anyone with bullshitter. And no-one wants to be experience has heard every line before, friends with a desperate bullshitter. so don’t try and appear more important than you really are. You are you, and Be with that person you have a huge amount to offer. Don’t When you are with a person, BE with sell yourself short by pretending to be that person. There is a temptation to someone you are not. look over shoulders, eyeing up the next person to network with, but try to avoid it. Listen, connect and communicate. Give and take cards (and Ninety percent of people cannot or do follow up) not do this. Take business cards and exchange them – but understand that most will end up in the bin. You don’t want to leave with 300 Be a facilitator business cards from people you met, Think like a producer and introduce you want to leave empowered with FIVE others who you know could benefit from new and meaningful relationships. the relationship. Facilitating success in others will always pay you dividends 42 Understand What People and move on with effortless grace. There are plenty more people to meet. Want (and that’s you too) We are all human animals and basically want the same thing. When we enter Don’t take it too seriously a new relationship (networking) we Smile and make friends. It’s not a will ask… What can this person do for competition. Successful and powerful me? Can they entertain me? Can they networking is just about are chatting, help me get done what I want to get meeting new friends and having you fun. done? Do I feel at home and attracted to If someone is rude, they are probably them? Can I get some kind of intimacy? insecure, bluffing it, tired and just It’s what they are looking for. It’s what generally being human. Let it go. you are looking for too. Don’t take it personally if people don’t respond to Finally, remember we are your overtures – not everyone likes the same kind of music, Star Trek quotes, all in this game together arthouse movies, strong cheese etc… The industry grows the more we collaborate and help each other. Offer Networking is not right or wrong, it’s just help and you will receive it. Be humble about people connecting. Often we are and you will be rewarded with genuine a tad insecure and a little tipsy too. If you relationships. Be bold and courageous don’t find what you are looking for, smile and you will find success.
So what next? You will see at the end of this book we have more amazing seminars coming up. But in the meantime, jump into LSFConnect and look out for the sessions we filmed coming online in the coming weeks and months.
43 #IMPACT50FILM Impact50… Meet the 46th and Final President of the United States
Do you want to be involved in the writing and making of a short film that could be part of The Impact50 feature film project? Read on…
The last year has been a rollercoaster for The Impact50. Phase one -- the film We shot in an extraordinary complete making phase -- closed with over 20 replica of the White House Oval Office. short films selected to be included in It was a long day, starting at 4am and the final feature. We also filmed "The ending at midnight for me, but what a Presidents Speech," starring Olivia rush to direct in such an iconic location Williams and written by Hollywood and with such world-class talent! I am legend Joe Eszterhas. particularly delighted with the opening shot, a cinematic and stylised long dolly backwards in ultra slow motion as the president takes onboard that the planet has less than two hours left. It should set the scene with some gravity for the films that follow.
We now have an amazing opening to the film and around half of the shorts we need for the final movie.
44 Phase Two will kick off after LSF. We At the British Screenwriters Awards will be putting out a call for new stories this year, we will be honouring several and films to be part of this amazing of the writers, actors, producers and feature film. If you are interested in directors whose films were produced getting involved, you should watch out during phase one. for an email from me and then sign up to the list on the website so we can You can read more about keep you in the loop. www.Impact50film.com on the site, and again watch out for a major update in October as we open up Phase 2.
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“Presented with such urgency and “The most innuential storytelling “The Ultimate Master.” power, Robert McKee teaches us theorist since Aristotle.” about life, death and the human heart.”
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46 THE LONDON BREAKFAST CLUB
The Breakfast Club is monthly initiative to connect creative and business professionals in film and TV. We do this by creating a safe place to network whilst listening to thought leaders, industry gurus and entrepreneurs.
The London Screenwriters’ Festival set it up as a monthly way to get screenwriters away from their screens, to inspire them through great information and speakers stories, afterward. And afternoon ones that we and to help connect them with other tend to host on Fridays. Our home is creatives and strengthen their peer the eclectic Phoenix Artists Club on groups. the edge of Soho in central London.
‘A very inspiring morning with lots of Come along and get a shot of valuable information... Looking forward inspiration as well as cracking to the next one!’ information, and the opportunity to Nicholas Burman-Vince, expand your peer group. Screenwriter ‘The atmosphere at these events There is usually one Breakfast club per is always uplifting. It reminds you month as well as an archive of some why you love writing so much. You of the past events that were filmed or go home renewed, ready to face the audio recorded. blank page again.’ There are two kinds that we run, early Caroline Slocock, Screenwriter breakfast with speakers on at nine, meaning you can still get to work www.LondonBreakfastClub.com
47 TALENT CAMPUS 4.0 My Talent Campus First of all, the teaching, advice and Experience by Abbie Heath mentoring is awesome. On Talent Campus 4.0 we had access to Oscar- Applying to Talent Campus was a winning producers, Bafta-winning writers, last-minute decision and it actually scriptwriting experts and commercial scares me to think I nearly didn’t go advice on sales and pitching. All for it – because it is an incredible, brilliant – and lovely – people, all almost indescribable experience. prepared to give more of their time than just a teaching session; all incredibly The best analogy I can come up with approachable and helpful. is one for Asterix fans – it fills you with magic potion and gives you the ability Chris Jones fell into the potion cauldron to go out and fulfil your screenwriting when he was a baby. Or maybe he destiny! How does this happen? What’s makes it himself. Either way, he’s got the secret? Can it really be that good? buckets of the stuff on offer. And he’s YES IT CAN. someone you want in your corner. He and the fabulous team created an experience that went way beyond just the practical aspects of writing.
With their support and encouragement we – every single one of us – ramped up our energy and self-belief, breaking through the limits and boundaries we’d set up around ourselves. I went to Talent Campus a fairly shy, fearful and very nervous writer, happier to hug the wall than a stranger – and now I’m a FIREWALKER and (ahem) pretty
48 mouthy at times. I’m not afraid to step up any more. I have confidence in where I’m going. I’m taking my writing seriously for the first time. I have my magic potion.
Talent Campus makes you brave, bold and adventurous. And it gives you a network of other writers, filmmakers and story warriors who become your support, your inspiration, your tribe. We all came away with the knowledge that our writing ambitions can and will happen – it’s not just belief, but a plan, a way forward, and an amazing support network. The Festival itself is only a week away and I met some extraordinary people who instead of feeling apprehensive, I can’t shared common ground and were wait. Bring it on. Strike the pose. Talent passionate about one thing...telling Campus ROCKS. stories. From day one there was a great atmosphere and a very open environment that felt nurturing and Another view by Scott supportive - no one was looking to score Davenport points or blindside anyone. If you just want a nuts and bolts course there are plenty of great ones out there There are many things that I will take (as well as books, online etc...) but away from my TC experience; increased what TC is more focused on is your resilience; confidence; self-belief; the development as a writer and building tribe. I’m not saying that I am now that muscle memory that makes you do miraculously fearless, I’m just a little bit instead of stand on the sidelines hoping. more prepared to face those fears. The first thing for me was the tribe.
49 GET £40 OFF WITH CODE LSF18 SCREENWRITING CRAFT CRASH COURSE With Lucy V Hay What happens over the 20th & 21st October 2018 two days? In this highly practical event, you will Where: Ealing Studios learn how to create screenplays that How much: £139 stand out from the tsunami of good www.screenwritingcrashcourse.com (but not killer) scripts out there… Key elements covered include: The Screenwriters’ Craft Crash is a must for any writer who needs to get • HOW to write MORE visually to laser focus on their actual pages and create powerful images in the elevate it from ‘good’ to ‘recommend’. readers mind Bring your laptops, pens, highlighters, • HOW to craft your characters print-outs and game-faces! Expect to so they become even more write and rewrite. unforgettable • HOW to write dialogue that Be it structure, theme, plot, characters, sparkles, giving unique voices to scene descriptions, dialogue… Each each character area will be addressed and you will • HOW to avoid dialogue taking over learn how to refine, reduce and write your scenes with significantly greater impact. • WHICH structural methods will keep you on track and how to avoid overthinking • HOW to spot and avoid your ‘static scenes’ and ‘false movement’ and remove forever • WHY ‘good craft’ is NOT just screenplay formatting!
www.screenwritingcrashcourse.com
50 GET £40 OFF WITH CODE LSF18 SCRIPT READING With Lucy V Hay June 22nd & 23rd 2019
Where: Ealing Studios Ultra Early Bird: £79.00 (Exp 2/5/18) Early Bird: £89.00 (Exp 30/11/18) Standard: £139.00 www.scriptreading.co.uk
Learn how to produce industry standard analysis for agents, producers, production companies What is included? and broadcasters – all of whom have • Writing a fully professional report mountainous ‘read’ piles. The ability to • How to negotiate pay for your work distinguish a ‘Pass’ from a ‘Consider’, and where to find it or even a ‘Recommend’ will make you • Techniques for constructive a valuable asset to the biggest and criticism and avoiding conflict most prolific production companies. • What constitutes “marketability” Key elements covered include: • Identifying strong concepts • Why context matters: how sample • WHO uses script readers scripts and sold scripts differ • WHAT the key components of a • Tips for helping writers improve script report are their craft • WHERE to source those elusive • Understanding how logistics affect script reading jobs (even ones not filmmaking advertised) • How to write positive script reports • WHEN to walk away and avoid that get results for writers and conflict with writers execs and gets you re-hired for the • WHY reading as a job can improve next job your writing AND most importantly, your understanding of the www.scriptreading.co.uk business.
51 A FINAL WORD... Holy cow! You can see there is a Above all, remember to relax and have TON of stuff to do to get the most fun. Talent is great, but relationships from the festival. It’s going to be an get you hired. Making friends is often intense three days, so plan for the more valuable than delivering killer marathon. pitches or getting business cards from heavy hitters. Screenwriting Being prepared is the best way to is a lifelong pursuit and a creative get the most from the festival, so get marathon, not a 100 yard dash. working on your pitches now. At any given time there are five Good luck and I look forward to seeing sessions running along with other you there! events like the PitchFest, Labs, Actor’s Table read etc., so there is a LOT Chris Jones and on behalf of the happening. We do film many sessions whole team and those will be marked in the www.LondonSWF.com schedule. Follow me on Twitter @LivingSpiritPix
Download the App We have an App for the festival. You can download it at http://my.yapp.us/LONDONSWF. With the app you can browse delegates, speakers, pitch execs, build your own schedule and more. Perhaps most importantly though, you can get Push Notifications from us throughout the festivals with important updates. You may need to enable notifications for the App in your smartphone settings.
52 Dates to be announced in September
53 Get A Little Bit Twisted...
50 stories from 50 disturbed voices of modern horror…
Twisted 50 volume 2 is your second sitting at the table of contemporary horror. Prepare for an forbidden feast of fifty courses… A slice of terror, grilled to perfection. Ripened dread, stewed in a sensual broth of dark delights. Followed by succulent wonder, wrapped in freshly garrotted fear. Fifty new dishes, from fifty master chefs of the contemporary unspeakable. Settle in and sharpen your knives… here come the Hors d’oeuvres!
TWISTED50 VOL.2 AND SINGULARITY50 Join us for the official World Book Launch for both Twisted50 vol 2 and Singularity50. We will send you an email when we know the date and venue… More at www.Twisted50.com and www.Singularity50.com.