November 2009 Archives

HINTS - PREPARING FUNDING APPLICATIONS

By Nat on November 23, 2009 1:56 PM | Permalink | Comments (0)

Just a few handy hints to remember when preparing your application for funding at FTI. These are available online along with other information about preparing an application. This information does get updated so check it regularly!

Please send me an email if you have any queries.

FORMAT THE SCRIPT CORRECTLY

Not hard! Email Nat for a script template. Or download from the Screen Australia website.

READ THE SCRIPT OUT ALOUD

Is the dialogue naturalistic? Do people talk like that? Then neither should your characters! How long is the film? Does it make sense? Read out directions also - don't describe too much. Only include directions that help reader to understand character development. We DON'T need to know every minute detail.

HOW LONG IS THE SCRIPT?

Raw Nerve projects should be around 5 minutes long - this means the script should be no more than 6 - 7 pages long. OOMPF projects should be 9 - 13 minutes long. Scripts should be no more than 15 pages.

DO A SPELL CHECK

This is not hard! Spelling errors really irk panelist and are so easy to avoid!

SHOW IT - DON'T SAY IT!!!

Convey information visually. Dialogue communicates backstory, background information and any facts that are necessary to the story.

For example, throughout a film, a character could wear a wedding ring and have pictures of himself with a woman and child in his wallet and in his house. Yet you never see this family in person. The audience is clever enough, they will surmise that the character has been through a divorce or separation, and that he still cares for his family.

BEWARE OF EXPOSITION OVERLOAD!!

Early career filmmakers worst enemy! A very common occurrence in submitted projects. Don't have the majority of exposition too early in the script. It lessens the opportunity for shocking revelations and plot twists towards the end.

Try to disperse exposition evenly throughout. Only include what is necessary for the audience to understand the story...but no more. Anything not required to help the audience understand the story right away can be saved for later.

INCLUDE A PRODUCTION TIMELINE

You don't have to specific include dates - periods of time are ok. How long will you allow / do you feel you will need for Pre / Production / Post?

Jules Duncan @ SPAA Fringe 2009

By Nat on November 23, 2009 1:43 PM | Permalink | Comments (0)

A rundown on what WA finalist of the 2009 SDA pitching competition, Jules Duncan, experienced when he went to SPAA Fringe 2009.

"After winning the WA heat of the FTI SDA Pitching competition, I was awarded funding to attend the SPAA Fringe conference (held in Sydney on October 16 & 17th), and compete in the National SDA pitching final.

Competing was a massive let down, and not just because I didn't win. Compared to the WA pitching comp, the pitch was shorter (3 minutes compared with 5 minutes), the questions and feedback from the judging panel were less comprehensive, and the whole experience was a hell of a lot less satisfying.

I also would have preferred pitching my idea on 'Cashed up Bogans' to an Australian judge rather than a Pom. 'Loaded Chavs' just don't compare.

Basically, I'm a sore loser, and I don't care who knows it.

However, the experience of preparing for the pitch was invaluable. It meant I was able to really boil down my idea into themes and exciting concepts. That helped me to pack a punch when pitching one-on-one to producers and commissioning editors- something I got to do a number of times at the conference.

According to SPAA, the Fringe conference 'educates, connects and inspires filmmakers'.

For me, I'm 'inspired' enough. As for 'education', that sounded like too much hard work.

So I concentrated on the 'connecting' part.

I treated SPAA Fringe as a chance to meet and interact with people who might be able to help me get my ideas up.

The 'Roundtable' discussions and 'One-on-One' meetings were perfect for this. I was able to meet with Commissioning Editors and other big wigs from different areas of the ABC. I would have liked to have even more meetings, but I had to dump a few appointments in order to prepare for my pitch.

In the 'One on One' meetings, I was able to pitch my ideas directly, and then spend a few minutes fielding questions. I used my phone to play people a teaser from 'Cashed up Bogans', which seemed to impress. I had feedback ranging from moderate to excellent, with one commissioning editor approaching me later in the day to say 'Make sure you send me more information, I'm very much looking forward to hearing from you again.'

She hasn't returned my calls since, but at the time I was very happy with myself.

The 'Roundtable' discussions were a great chance to direct broader, non project specific questions to people who matter. They were also good to find out what is on the mind of like minded 'emerging producers'

Career-wise, this experience allowed me to grow in confidence. Being able to talk with 'network execs' was amazing - they're not scary and they don't scoff at everything you say. At the same time the criticisms and questions they had for me are exactly the criticisms and questions I know I need to be ready for next time.

One big wig I spoke to said 'don't give anyone a reason to say no, give them lots of reasons to say yes'. I feel I'm now one step closer to knowing how to do that.

I am very appreciative to FTI and ScreenWest for their support before and after the conference.

I also feel the WA pitch heat was very well run compared to NSW. From the format to the judging panel scrutiny, I felt that each pitch was comprehensively explored. I'm sure that like me, each of the WA entrants now has more of an understanding of their project, and how they need to pitch it."

Ethan Marrell - Notes from LA Screenwriting Expo

By Nat on November 3, 2009 2:32 PM | Permalink | Comments (0)

Emerging Producer / Writer Ethan Marrell is currently producing an OOMPF funded film called "Fire With Fire", which is in post production. Ethan recently went on a trip to LA for a Screenwriting Expo and made a few notes on his experiences.

"I have typed up a few of my hand written notes to share with you, my fellow Perth filmmakers, receivers of E-vent, and those who read the blogs...

Here is some of the information circulating in this brain of mine about my experiences at the 2009 Screenwriting Expo @ Wilshire Grand Hotel, LA, from October 16th - 18th. Between Guest of Honour speakers, the seminars, workshops, and the pitch festival my brain is feeling jam packed with information.

Day 1: I attended seminars such as 'Make It Funny From The Ground Up', 'Pitching To Sell', and 'The Outline For Your Feature Film'. I found each of these sessions informative, but have copious notes from 'Pitching To Sell' in particular. Karl Iglesias was the speaker and it genuinely felt like he was there to help new writers - which was good! He stressed points such as: Don't be boring, Engage the listener, and Avoid telling the story scene by scene.

Day 2: I joined in on the festivity and mayhem of 'The Golden Pitch.' A pitch festival where new and wannabe writers have the opportunity to pitch their screenplays to production companies. You have 5 minutes with each company and move through about 3 different waiting rooms. It's fast, hectic, and when you look around the waiting rooms some writers are mingling and others prefer to wear their F%$# Off Face.

Here's how my pitches went for my feature screenplay 'Dead End Love'.

Rat Entertainment @ 9:40 AM - Pitch finished early, 4 mins 30, but that's OK, using the rules of stand up comedy it's never too early to get off. Representative accepted first 10 pages of script.

Mad Chance Productions @ 10:40 AM - Pitch took up all 5 mins. Rep asked a lot of questions and was very enthusiastic and interested to know more about the story. Said awesome stuff like 'really intrigued by this' and 'never heard anything like it before'. Accepted first 10 pgs.

Lin Pictures @ 1:30 PM - Liked the pitch and said it was 'solid'. Couldn't accept unsolicited material. Needed time to think if this would suit the company and took my contact details.

Village Roadshow @ 4:05 PM - Liked the idea and wanted a one page synopsis...Didn't have one...first 10 pgs is how I roll... Rep. couldn't accept unsolicited material. Gave contact details and a list of 5 American competitions in which the screenplay has placed in varying rounds of finals. Great lil' meeting overall.

Lionsgate @ 4:50 PM - Lots of questions after my 2 min pitch. Wanted a better understanding of the screenplays genre. Asked for the first 10 pgs. I gave them to him. Went good for the end of the day as we were probably both ready to go have a beer by this time.

I left a gap from pitching between 2 PM and 4 PM on this day, as Shane Black (writer of Leathal Weapon, Long Kiss Goodnight, writer/director Kiss Kiss Bang Bang) was speaking as a Guest of Honour .

This was a fantastic interview. Shane was extremely funny and also very informative. He spoke of certain techniques that he misses in alot of modern screenplays e.g. reversals, twists & turns, set ups and payoffs. He recommended when writing characters that the aim is not necessarily to make them less like you, but more like you, take traits from yourself and build on them in your characters, care about and inhabit your characters. He also smashed in the face the stereotype of writing dialogue that's 'natural' and 'real'. BORING! Keep it playful and fun. Dialogue is not easy, but it should fun.

Day 3: More pitching + Guests of Honour. Scott Free Entertainment, Warner Bros, and Imagine all wanted the first 10 pgs of Dead End Love. Misher Films and Darkwoods took my contact details. That brings an end to my American pitching experience. 10 companies in total and I enjoyed the experience immensely. There was not one person I pitched to who had a 'Hollywood Hard Ass Executive' vibe about them. Everyone I met from the companies was very human, and very nice.

Between pitching I saw 2 more Guests of Honour interviews. The first was Franklin Leonard. In 2008, Franklin began his tenure as the director of development and production at Universal. This dude is switched on! I'm really glad I made it to this session as I found it hugely informative. Franklin spoke about both the commerce and creativity of the industry in a very balanced fashion. The second Guest of Honour session for the day was William Goldman and John Cleese together (two absolute legends of the screen industry - imdb them if you're not familiar with their work). The session was basically a Q & A with the audience for close to 2 hours. Of course the big questions came flooding in 'What makes a hit movie?' 'How do I get a big break?' etc etc. To which Goldman and Cleese could only shrug at times and say they honestly don't know. Luck. Timing. Nobody knows!

Goldman's philosophy in short was 'write something of interest that will keep the reader turning the page. One day someone will give you money'. Cleese spoke on how tricky it is these days because budgets are so high. When the budgets get high, tension/anxiety creeps in and creativity can become stifled by control. He spoke of the early Monty Python days when there was less at stake and they had the freedom to be original. Nobody knew if it would hit or miss!

Overall it was worth the journey and money to attend this event. I spent another 11 days in L.A. after the expo and if you have any interest in filmmaking what so ever it's definitely a town worth checking out. Bring on the credit card debt! Cheers, Ethan M."

Crows Feet - Raw Nerve 2009

By Nat on November 3, 2009 12:21 PM | Permalink | Comments (0)

Nat Eaton from Production Support at FTI had a quick chat with local Producer / Director / Writer Megan Palinkas, about the process and experience gained from working on the recently wrapped shoot for the 2009 Raw Nerve funded film "Crows Feet" and where she hopes to be when the project is delivered.

1. How have you found producing an FTI funded project?

I've had to beg, steal and borrow to make this film. As grateful as I am for the grant, the simple fact is that $2000 doesn't go very far. No-one's getting paid their worth, if anything, and people let you down. It's been very stressful at times but the experience has been such a rich one and I've learnt more than I ever expected to.

I'm glad I produced this film. It's important to me as a writer/director to have some ownership of my work but next time I will definitely source a producer. No matter how much you put into place to prevent it, shit happens on set and the producer is the 'go to' man. On set I'd rather not waste energy on debating whether the runner should shoot off to Osborne Park to pick up a spare battery.

2. How did you come about applying for Raw Nerve?

I come from an acting and writing background but recently I've been drawn to the idea of exploring the other side of the camera. It's a nice change to be in control of the creative proceedings rather than at the mercy of them. I knew of Raw Nerve and thought it would be a great opportunity to cut my teeth as a first time director. Luckily the panel liked the script and took a chance on me.

3. How would you describe the filming process of 'Crows Feet'?

The shoot was probably the most enjoyable part of the process for me. It was immensely satisfying to see that script come to life because the 2 main characters are based on my grandparents. We actually shot most of it at their house because I figured it would save a bit on production design.

The director of photography, Anthony Hanson recruited the crew. They were wonderful, especially first AD Rosie Bright who did a superb job corralling extras and keeping us on schedule.

4. Who else was involved with the project?

Anthony Hanson was the director of photography on the project and his creative contribution was priceless. We went in pre-shoot and created digital storyboards so on the day I had a very clear idea of how I wanted to execute each scene. He just 'got' my vision and none of my requests were too hard to carry out, bar for one infamous steady-cam shot.

On the acting front I don't have enough good things to spout about my lead actor Clem Littleton. He was simply magic. I can't wait for audiences to see his performance.

5. What was the most interesting incident on set during filming?

Let's just say that capturing a wild bird and an actor in the same frame is pretty tricky.

6. What knowledge have you gained through this process that will benefit you in future projects?

Being an actress I was familiar with crew roles and common filming techniques, but now having experienced the process as the 'captain of the ship' I have a renewed respect and fervor for film and the people who work together to create them.

I can't wait to make my next one. I have a ton of scripts that I'm working on at any one time but at the moment I can't see the forest for the trees. There's one in particular that I would love to make but it's a period piece and that equals chunky budget so I'll consider my options come the new year. I have to get this monkey off my back first and we're on track for a mid-December completion. I just hope people will like it.

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November 2009 Archives

HINTS - PREPARING FUNDING APPLICATIONS

Jules Duncan @ SPAA Fringe 2009

Ethan Marrell - Notes from LA Screenwriting Expo

Crows Feet - Raw Nerve 2009

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