Tag Archives: scriptwriting

In which the Author delivers his first movie script …

I’ve recently delivered the fourth and final draft of my first commissioned movie script. It’s a ten-minute animation

called DIETRICH BONHOEFFER, and deals with the titular character’s resistance to Hitler from within Germany.

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Dietrich Bonhoeffer was perhaps the world’s most unlikely dissident – a conservative and highly intellectual

theologian from a comfortable upper-middle-class German family. If the Nazis had not come to power Dietrich

would have spent his life as a respected but obscure university professor in Berlin. As it was he resisted Hitler for

an amazing twelve years, firstly by attempting to prevent the Nazification of the German Protestant church, and

eventually playing a minor part in Operation Valkyrie, the German plot to assassinate Hitler. He ended his life in a

concentration camp just weeks before the end of the war.

To tell the story I’ve used a mix of history and humour, with a James Bond joke, a Terry Gilliam reference and even Adolf Hitler going door-to-door with a collecting tin: “I wonder if you’d consider supporting the Nazi party? Our

policies are the extermination of the Jews and the Gypsies, the subjugation of the whole of Europe and the

enslavement of lesser races. No? Perhaps you’d take a leaflet?…”

Writing the script was a powerful experience, mining Dietrich’s amazing life for episodes that could be used

visually and to show the humanitarian principles he stood for. I’ll confess to in being tears sometimes, especially as I was writing the last pages.

The script was commissioned by The Lives of the Dissidents project – my deep thanks to Patrick Lavery there for

this opportunity. Pending funding, the film will go into production in 2015.

In which the Author is a quarter-finalist in the Stage 32 New Blood scriptwriting contest…

blood list

It’s called RIDERS ON THE STORM. It’s a sci-fi destruction thriller themed round an alien invasion and the er…

somewhat unusual resistance deployed by we Earthlings. And the feature-length screenplay is one of the quarter

finalists in the New Blood scriptwriting contest run by Stage 32 and the Blood List.

This high-profile Hollywood scriptwriting competition describes itself thus: “Our exclusive panel of industry judges

are looking for scripts in all areas of horror, thriller, and suspense…  All finalists will be listed in a special section of The Blood List and be exposed to top industry execs.”

I’m quite pleased about this.

The full list can be found here. I’m under ‘G’.

In which the Author proofreads a Swiss script…

typewriter-chapter-one_zpsa4ccbbb3.jpg~originalI’ve just finished proofreading and copy-editing another script written in English by a non-native speaker, this time a theatrical piece by a Swiss playwright. The original text was in French, and there is always a difficulty in

translating idiomatic dialogue from one language to another. If you translated ‘It’s raining cats and dogs’ word for word into French, for example, it would be absolutely meaningless to a Francophone. (The equivalent French idiom is ‘It’s raining spear-points’.) So there were some knotty issues with understanding what the author wanted to say originally, viewing the English translation, and then fine-tuning those phrases into acceptable vernacular English,

but a peek at the original French text helped work things out.

I should also say that, despite the author being a native Francophone, the proofread of the English script

uncovered fewer mistakes of spelling, grammar and punctuation than I see in the average script written by a native English speaker.  Go, as the Americans are wont to say, figure.

This job is the latest in a line of proofreading / copy-editing jobs I’ve been doing for European scriptwriters, with

recent examples stretching from France and Scandinavia to Hungary. Which is, of course, most excellent.

In which the Author is commissioned to write the script for an animation film…

Well chuffed to note that I’ve been commissioned by The Lives of the Dissidents project to write the script for a 10-minute animation about Dietrich Bonhoeffer, the German Protestant pastor who resisted Adolf Hitler and after a

long imprisonment was eventually executed by the Nazis  in 1945. Other films in the series will highlight others who resisted state power, such as Martin Luther King, Victor Jara and Sophie Scholl.

This is the first time I’ve scripted an entirely animated film. Once the script is complete, the animation is scheduled to go into production in 2015.

Now I’m going to celebrate with a nice cup of tea.

In which the Author’s first film goes into production…

Running Scared, a tense pursuit thriller, goes into production next week, with filming at various spectacular

outdoor locations in Tennessee. Yowsa.

The story: In rough country, three teenage boys are running for their lives from a mysterious group equipped with

helicopters and automatic weapons. Who are the pursuers? Why are they hunting down and killing youngsters?

The answer comes when the sole survivor finally reaches his destination – and it’s nasty. 

Writing the script for the ten-minute short was a hoot. It’s now up to the crew and cast assembled by Pinpoint

Productions out of Florida to do the really hard work over three days’ location filming. It’s great, isn’t it? I write a

screenplay in France, and then before you know it people are running round the south-eastern United States with cameras and squibs of make-up blood.

I’ll keep you posted on the progress of the film. In the meantime, here are some of the likely locations for Running Scared:

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In which the Author enjoys proofreading a fellow scriptwriter’s work…

I’ve just copy-edited and proofread the synopsis for a movie written by a fellow screenwriter. He’s French, and

writes excellent English, but not being a native speaker there are all clearly all kinds of possible traps for the

unwary (for example, written French is typically both longer and more elaborate than written English, and so

sentences in translation can have multiple clauses and last as long as a paragraph, thereby trying the patience of contemporary Anglophone readers).

After a thorough overhaul and extensive proofreading the logline and synopsis are now both suitable for waving in

front of English-speakers in the film industry. Good luck, fellah.

This was the first time I’ve proofed and edited someone else’s work destined for the movie screen (as distinct from books, scripts for corporate videos, business documents etc.) and a fascinating process it was too.

It occurs to me that there may be other screenwriters and filmmakers writing in English but for whom the language is not their mother tongue. If you are in this position and would like an experienced copy-editor / proofreader /

writer to check that everything reads well in English, please get in touch. My rates are, as they say, reasonable.

The story is on Stage 32 and The DispatchStage 32