2011-12-13 20:27:36 http://www.scriptfactory.co.uk/go/News/Articles/Index.html Established in 1996, The Script Factory has become one of Europe?s leading development organizations working to support screenwriters by finding and developing new screenwriting talent; by supporting the people who work with screenwriters; and by presenting unique and unmissable live screenwriting events with some of cinema?s top creative talent. Copyright ScriptFactory, 2003 info@scriptfactory.co.uk en-gb http://www.scriptfactory.co.uk/img/logo.gif http://www.scriptfactory.co.uk 90 36 http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_54.html The nature of cinematic love stories is that a romantic relationship takes centre stage and supports the universal notion that everyone has a soul mate and that love can be transforming. For an audience to be satisfied, most of us would agree that they must be convinced that the characters deserve each other and confirm these ideals. To see how different elements of a screenplay produce this belief in the audience I have chosen to examine Twilight, to see how a film aimed at teenagers, has managed to capture the hearts of women across the generations; Brokeback Mountain, to discover how homosexual love, an issue that can still be taboo in today’s world, was handled to critical acclaim and to uncover what made The Proposal such a box office hit. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_62.html The event takes place at Stratford Picture House and kicks off with the screening at 4pm. Tickets are on sale from £35 each with funds being raised in support of Positive East, East London's leading community-based HIV charity. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_61.html In an article published in the Guardian earlier this year, games writer and former critic Rhianna Pratchett is quoted as saying ‘[for video games] story is often the last thing thought about and the first thing pulled apart." Games writers are working in new and ever-changing territory where the conventions of traditional story-telling are constantly being reinvented. However, there are opportunities in this booming sector for screenwriters, playwrights and novelists to explore their ideas in new ways. So how does the ‘traditional writer’ approach such uncharted ground? http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_59.html The series then continues with Moira Tamara Drewe Buffini; John The Aviator Logan; Guillermo Babel Arriaga; Frank Cottrell Boyce of 24 Hour Party People fame; Ken Loach's long time collaborator Paul Laverty, writer of The Wind That Shakes the Barley; and closing with screenwriting legend Charlie Kaufman, Being John Malkovich, Eternal Sunshine of the Spotless Mind. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_58.html The LAB will comprise of a free, three-day workshop in Central London that will introduce the key concepts in building a story for film. Taught by practitioners of screenwriting and script development, it will be structured through informal lecture sessions using film clips and including lots of practical exercises. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_57.html The Writer's Voice http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_56.html I have never undertaken anything that has caused such acute torturous obsession. (Pinging awake at 4 in the morning, shaking my boyfriend out of his slumbers yelling, “I’ve got it! If I just move the dominatrix scene in front of the Danny La Rue scene – everything is solved!” Just to find, in the cold light of rational day, that the Danny La Rue scene was being as uncooperative as ever.) http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_55.html "I hadn’t expected to get through. Yes, I'm a published writer, and confident with scripts through my background in theatre and plays, but, I had little experience of screenwriting and had been suffering from such a heavy cold during the interview I could barely see. All I could remember was a lot of talk about extreme upward trajectories. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_53.html Is the pram in the hallway the enemy of good art? http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_49.html Screen On The Green, London, Tuesday 18 August 2009 http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_51.html Downey Jr: "What does an actor look for in a script? Specificity, emotional honesty, catharsis." http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_48.html BLOG 4 http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_46.html Hurry up and wait: A day in the life of a Victorian prostitute http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_47.html These inaugural Australian workshops are designed to enable practitioners with high-level story-analysis skills to focus on the nuts and bolts of script development. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_45.html “Every year for many years now I have been invited to lead a week-long screenwriting workshop, with the screenwriter Paul Fraser, in one of the Arvon Foundation’s beautiful country houses. These houses have been bequeathed by famous writers for the sole use of providing a tranquil and conducive environment for writers to teach writing and share their experience with the next generation of writers. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_44.html Taking place from 23–25 July, at the beautiful Keble College, Oxford, this year's BRITDOC themes are Comedy and Music. Guests who will be heading for Oxford include comedic director Larry Charles (Borat, Curb Your Enthusiasm), as well as renowned composers like Michael Nyman and Jonathan Dove, and Mercury Prize-nominee Nitin Sawhney. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_43.html For some writers in the industry ‘soap’ is still a dirty word. With a reputation for impossible deadlines, huge audience figures to maintain and the spectre of reams of development notes showering down on you from every conceivable angle, on the surface it could appear a frustrating proposition. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_42.html SHOWstudio, is requesting your submissions to a 24-part screenplay. Titled The '24hrs' Project, and involving a 24-hour fashion shoot with the prestigious fashion house Yves Saint Laurent over the night of Saturday 14 July, the project will create a catalogue and a short film of the forthcoming YSL 'Edition 24' collection and will be broadcast live on SHOWstudio to a global audience. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_41.html The pair were in conversation with the journalist David Gritten – we’ve reproduced selected extracts of the discussion here. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_40.html Scroll to the bottom to follow Hannah's journey from the beginning... http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_24.html Friday 21 Jan 2005 http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_39.html In an era when audiences are so comfortable with multiple narratives that a mass market love story like Sliding Doors can play with parallel universes without anyone blinking an eyelid, it’s still common for screenwriters to be told that flashbacks are 'too hard' or 'lazy', or (in the face of substantial evidence to the contrary), that all films can be written via a one-size-fits-all approach, which involves a linear three- or four-act structure and one protagonist on a journey towards emotional and spiritual fulfilment. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_38.html The conversation was led by journalist and former editor of Screen International Nick Roddick. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_37.html With just a few full moons between now and the 17 March closing date, the surgery might be just what you need. Have a look at the , and test Ludo and his online partner Bella Coates (Golconda's own Development Exec), with the trickiest challenge you can. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_36.html The Brit version - a quiet, calm pause on the face of Donald Sutherland's Mr Bennet - has been superceded by an altogether more romantic and, dare we say, more predictable ending for US audiences, complete with Darcy & Elizabeth smooches. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_35.html The Script Factory Masterclass with Carlos Reygadas & Anapola Mushkadiz, in conversation with journalist Leslie Felperin http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_34.html Briony Hanson (Co-director, The Script Factory) http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_33.html In reality it’s a universally acknowledged truth that scriptwriting can be a fantastically arduous task; but it’s not only a discipline - more importantly, it requires discipline. Successfully translating ideas onto paper is what distinguishes good screenwriters from bad, but the process of producing ninety-odd pages of writing can be a painful experience of overcoming distraction, even for the pros. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_31.html The Stanley Kubrick Masterclass with Niels Mueller http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_25.html Tanya Seghatchian: Welcome Alexander! I wonder if you could begin by talking about the nature of friendship and the nature of the relationship between Miles and Jack, and also about the similarities with Bruce Robinson’s film [Withnail & I] which is something that most of the audience here will probably know. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_27.html Over the last 6 months, we've made the effort to get many of these sessions transcribed here on our site so that we can share them with more than just the handful of people who are lucky enough to snatch up tickets on the night. What is emerging is an invaluable resources of interviews with some of the best filmmakers in the world - all here, all free for your enjoyment. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_18.html Buy your ticket, take your seats, and come on a http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_26.html Day 1 – 10 February 2005 http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_23.html In London from New York to see his film Maria Full Of Grace premiere at the London Film Festival, Joshua was happy to hang out at SCENE and enjoyed a warm conversation with Britain's most celebrated filmmaker. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_10.html ‘It’s a short story anthology, a scriptwriting development programme and a brand new feature film all in one’, they said. All you had to do was enter your own story, then get selected along with sixteen other writers for a workshop process, and finally end up one of the lucky four writers working on a multi-strand feature film treatment. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_9.html Briony Hanson http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_7.html http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_5.html GIRL WITH A PEARL EARRING: A MASTERCLASS IN ADAPTATION, FROM BRUSH TO PEN TO CAMERA. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_4.html Extracted from http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_3.html Even when I read the synopsis of Thirteen I knew it would be a new favourite. I love teenagers – their frantic highs and lows, the extremes of emotion, the effortless hilarity they bring to every situation and the pain; the pain of growing up which no one comes through unscarred, and so the resonance with our own experience coupled with the relief of getting through it is uniquely pleasurable. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_1.html Just to reiterate, genre theory is not about being ‘commercial’ (asking writers to compromise their voice and integrity), but rather is about considering the expectations of an audience, and considering why it is important, if not crucial, for new writers to acknowledge these. http://www.scriptfactory.co.uk/go/handheld/News/Articles/Article_2.html ‘Feeling?' That is an odd kind of question. What is it about? Well, I think it is about genre. Genre, quite simply means a type of film, but it has a much more complex cultural meaning and it is a classic example of the sum total being a lot more than the parts. It is important to dispel the negative associations; genre is not about stereotype, formula, or predictability. Whilst it is defined as a type of film it means ‘type’ in terms of what does the audience expect?