Pre-Production Unit: Looking into Different Screenwriters

Something that I need to do whilst writing my script is to make sure that I keep my characters believable, this is something that I need to focus on if I want to be a success. For this reason I felt it would be a good idea to investigate further into different screenwriters, to see how they wrote in certain situations to make the scripts appealing and believable towards an audience.

An episode of Charlie Brooker's Screenwipe is currently on Youtube and it was very useful towards giving an insight into different screenwriters and how they tackle their subject. Instead of the usual half hour of different subjects, this 50 minute episode was dedicated entirely to TV writing, and Brooker interviewed some very notable guests: Russell T Davies (Doctor Who), Tony Jordan (EastEnders), Graham Linehan (Father Ted, IT Crowd), Jesse Armstrong and Sam Bain. (Peep Show)

(The link works although the picture isn't showing in the video)

They talk about their own writing processes and it's interesting to see the differences in the way they write and approach a screenplay. For some, outlining is imperative, for others it's not so important. Some can't write without exactly the right characters in mind, for others the characters simply evolve into their mindsets, fully formed. I have to say it was comforting to hear about all the times they admitted they had writers block and made mistakes.

It's important to note whilst writing that you don't always get want to want out of an idea, it takes a lot of preparation and patience to get to the point you are happy with what you've got.

Sometimes you might never happy with what you've worked on. This is why i've found it very inspiring and enlightening to find out more from those working in the same field I am working towards. This is why I have had also discussions with other students in my class who are also creating their own ideas. It is good to surround yourself with writers who can help your own sense of judgement whilst writing as well as the competitive streak to always outdo yourself whilst doing so.

Pre-Production Unit: Scriptwriting Research

Because I wanted to create a high concept idea for my Uni project I first had to research into what a screenwriter is and does to have a complete grasp of what it is I want to achieve.

Dictionary.com defines a screenwriter as: a person who writes scripts, as for movies, radio, or television.

After searching on the Internet I began to think about what is really necessary to include before you start writing a screen play. Using Creative Skillset as a source I came across some of there own suggestions and tips, which include:

• Have an in-depth understanding of story, plot and narrative
• Understand the different ways that films affect audiences
• Be familiar with current formats for presenting screenplays
• Be able to demonstrate creative imagination
• Be able to bring to life the individuality of characters
• Be ambitious and dedicated

I found this all incredibly useful. I was already familiar with these tropes but its very useful to have a guideline to follow, especially since i'm making a hypothetical script to be presented for Channel 4. 

I realise that to make my project a success I need to keep the creativity consistently flowing throughout my production which means thinking deeply about what it is I want to get out of this idea and how I want it to come across to audiences. This is what makes a successful screenplay.

It seems to be the case that Screenwriters are required to be highly creative in the writing process, especially since it is such a competitive market. Most scripts end up not being green-lit, so it is very important to make it stand out more than anything. 

Before an idea is sent off completely, a script development team attempts to create a finished product. This makes it easier when it comes to financing a project. Sometimes producers will bring in an additional Screenwriter to improve certain aspects. In this case, the Screenwriter may share a credit with the original Screenwriter. However since this is still the early developmental stage, this will all be something that happens in the aftermath of the script being chosen. 

Pre-Production Unit: Learning about Scriptwriting

I have been trying to learn as much as possible about my role. One interview that I felt was especially useful in summing up exactly what a screenwriter job does was this interview with Jesse Armstrong, who writes for Peep Show, Fresh Meat and The Thick Of It. 

In this interview, Jesse Armstrong and co-writer of Peep Show and Fresh Meat, Sam Bain give some very useful advice as to the tricks of bringing a story to life using the actors.
Jesse states that "if you have a dramatic situation it will be a comedic situation as long as you've built your characters right. "If you're trying to work out a plot, it doesn't necessarily have to read that funny on the page, as long as it reads dramatically." This is very useful advice, especially as a lot of the humour in comedic moments comes from the delivery, whereas writing certain jokes into the script can come across as forced.

In regards to picking and choosing actors, Sam Bain suggests that "it's better to approach people who produce work that you really admire instead of just tossing your best material to proverbial swine". 

Creating a distinct tone in a story is a skill that all writers have to master in order to draw their audiences in. As far as figuring out how on Earth to do that, Armstrong suggests having pictures of the cast (or of whoever the inspiration was for your character) and knowing what kind of show (or movie) you see it being like. 

This is particularly necessary to consider when it comes to re-evaluating my own importance as a scriptwriter. It is the tone that I create whilst writing that largely sets the mood for the entire work. 

As the person in charge of making the show however, I have to be as spot on as possible with what I do, and always go over it in depth to make sure it is well implemented.

One piece of useful advice I found when initially searching for tips on scriptwriting was "Write what you know." This is extremely useful because ultimately its important to write an idea that you're passionate about. There's no use stepping out of your comfort zone if its something you are not going to properly develop. This is something I really stuck to as I was writing out my story.

I think it is very important to outline your ideal story first. Consider it as all assumptions to begin with and then let your outline guide your research from then onwards. It's okay to be wrong sometimes and ultimately, it's okay to be wrong in your first draft too. Of course research may prove some things false but it'll open up other story possibilities for the future. Then of course the idea is something that you can work in indefinitely if you've not got a deadline. As long as the passion is there, than you are much more likely to succeed with your goals.

Pre-Production Unit: Designing The Poster

One of the things I decided I wanted to so when thinking of items to include in my pre-production package was a poster. 

I designed the poster for the major class project ‘Just Sayin’ earlier this year. For this I used photoshop and really got interested in this aspect of production. This is why i’ve decided I wanted to design one for this project too. I felt that I needed to have something eye catching that would get people interested in the idea. I also wanted to advertise Different Perspectives by showcasing the shows tone and style through the poster. I also knew that I needed something to add for my book cover.

I was already in the midst of choosing my actors when I decided to create a poster which would feature Lawrence in the role of Elliott. I knew that he would be perfect for the role because he had the type of look I had in mind when I was creating the character. When I wanted to talk to him about the role he unfortunately wasn’t at the studios but I sent him a Facebook message and he got back straight away.

He agreed and when we met up at the studios the next day I asked if he wouldn’t mind his likeness being used for the book and received his permission for the role. I talked with our resident Technician at UCA, Fergus Moloney to see whether he would be able to help with the equipment necessary to take the poster.

After this I sought and received filming permission for filming with Laura, and received filming space in Production Room 1. 

However..

It turned out that the lighting wasn’t very good in the room, mainly because you couldn’t have the levels of it, which didn't allow for a good contrast. I talked about this with Fergus and after explaining the idea I showed him the concept artwork that Bethany has made up to show him what I was after. We both agreed that if it was a more cinematic, noir poster I was after, we would need a different room. So I received permission to set up in the lecture room instead, which was not only much spacier but had a much better contrast in terms of the lighting.

The lighting in the lecture room turned out better
than expected.

Using this room had a good payoff because of the improved lighting and it allowed for a greater level of atmosphere. After everything had been set up and I took some test shots I called in Lawrence and we got to work on trying to find the perfect image for the show’s poster.

Lawrence seemed to instinctively know what I was looking for which made the shoot very easy and thanks to Fergus’s suggestions beforehand I knew exactly how I wanted it to turn out. This made it very easy to get the pictures I wanted. 

After choosing from a few select images it was simply a matter of fixing any inconsistencies with the image and working on the post-production lighting effects. I wanted the title to have a simplicity to it and let the image speak for itself. Otherwise I feared that it would become far too cluttered and take away from its starkness. 

However I am mostly delighted with the results that I have come up with and hopefully it conveys a lot about the style and tone of Different Perspectives to those who come across it.

Pre-Production Unit: Promotional Images

It was a great experience designing the 

poster for ‘What You Sayin’’ 

earlier this year, so I wanted 

to create another poster.

Promotional Images

As part of my role in making this project I have been looking at designs that I can use to help me create a poster. 

Designing the poster for 'What You Sayin' for the major group project earlier this year was a great experience, so I wanted to create another poster using photoshop. Once I create the final design I will feature it on the cover of the book I am writing, outlining my high concept idea, 'Different Perspectives'. 

For the promotional image I would like to use a photo that has been taken by myself and using an actor to represent the role of Elliott in 'Different Perspectives'. I decided to research into other images to see what other posters have been made for Channel 4 and other networks. 

The first poster I looked at was one that was made for Peep Show on Channel 4 very early on in the series' run. It is such a simple image, but it indicates towards the characters personalities and goes some way to showing how they interact within the show.
Mark appears worried and self-aware on the poster whilst Jeremy seems to be much more relaxed and almost dopey. This is only an interpretation but it is clear that the designers knew that this would grab the audiences attention in an evocative way.

Another poster I looked at was for the show Doctor Who, this version was designed for BBC America. Once again it is very important to point out the character traits, but this time it focuses more on the mise-en-scene. 

It features the inside of the iconic TARDIS that is inextricably linked to the show. This conveys not only about the personalities of the protagonists but also the setting in which it takes place. This is very appealing to new audiences as well as the old because it gives them a subtle insight into the sh
ow encouraging them to watch and find out more. As with Peep Show, the Channel logo features prominently. This is of course very useful when making a promotional image, to show what it is and where to find it. 

It is clear that the posters are there to represent not only the characters and the show but also the Channel itself. Effective advertising should be something that is not too cluttered and that ideally gives an idea of what the programme is based around. 

Is it therefore important for me to ask myself, who am you trying to reach? What demographics am I after? Tone is everything in these instances.

Looking at this research on different promotional images has been quite useful because it has given me an incentive into how the programmes are marketed by the distributors. I want the poster to be a clear representation of my project and make an impact on potential audiences, especially since my plan is to feature the design on the front cover of my Blurb book.

Pre-Production Unit: Further Influences

Although the Film and TV programmes i've mentioned previously were my main influences on my idea there were also further shows that have been with with me for a and which have influenced me at some point down the line with my scriptwriting for 'Different Perspectives'.

A publicity shot for Chris Morris'
series, 'Blue Jam'.

A few years ago I got really interested in the work of TV satirist, Chris Morris. After progressing through the TV & Audio versions of the surrealistic 'Blue Jam', I was really impressed with the possibilities that are available to the writer when formulating ideas.

It was then that a switch went off in my head, I realised that often Television is just the writer(s) conceiving of material if not just for themselves but as something that reflects whatever they want it to be. The TV outlet is quite liberating in the way that it allows for a vehicle for the scriptwriter. 

'EdTV' (1999)

Another influence was a movie that Chris Sarmiento (who is in my class) told me about. It is titled 'EdTV'. (1999) It was suggested to me in my pitch because Chris said that my idea of Elliott being filmed on camera reminded him of it. Before I watched the film I read the synopsis on IMDB:

"A video store clerk agrees to have his life filmed by a camera crew for a television show. This intrigued me so I watched it to see if it could give me some ideas when formulating my ideas."

After watching the film (which I have to say was better than I expected it to be) I could see that Director Ron Howard had some good ideas for the movie, but it was delivered quite sloppily. Especially in comparison to something else exploring the concept of being filmed like The Truman Show. However, in many ways it keenly predicted the trends and formulas of reality TV and the illusory breed of celebrity the genre spawns.

Pre-Production Unit: Halfway Criteria

Today I presented a powerpoint showing what I am working on and what I have planned for my package. This also included showing my treatment and synopsis/character profiles so far. The responses I received were quite positive in that my idea has progressed quite a bit since its inception and it is also now much better as a six parter series, rather than a feature length TV special. Some of the advice I received was to think about where I want to film in particular for my location choices and research further into my project using other shows as well to guide it.

Different Perspectives - Pre-Production Unit by Sam McKeown

Pre-Production Unit: Writing my Summary

For my book, I wrote out a shortened summary of Episodes 1-6 using my Outline for the Treatment-

SUMMARY

Elliott Moulding, a struggling screenwriter, lives a completely normal life. One night, he has a strange dream about being watched by cameras. When he wakes up, he begins to notice cameras in his surroundings, watching him. Then Elliott realises that he can sense when something is about to happen, after he prevents himself and his girlfriend, Elena, from being hit by a car. At work, he also senses that he is going to be fired. He confronts his boss, but is fired anyway. The next day, he also senses that there’s going to be a fire at an office building near his house, and manages to warn everyone in time. This draws the eyes of the media in his town, who hail him as a hero. It also draws the attention of two men, Tom and Vince, who begin following Elliott. Elliott is now even more paranoid, with cameras watching him at every turn and now Tom and Vince. He finds a document that they leave behind, and overhears a conversation Tom and Vince have, revealing that he is on a television show, and that a man called “The Director” is controlling them all. 

Elliott begins to try and convince everyone he knows about his discovery, but no one takes him seriously. Elena thinks he is losing his mind. Once Elliott begins trying to convince others, the Director is introduced, the man who sent Tom and Vince and the man in charge of everything. At first, he was alright with Elliott knowing about the cameras, as no one believed him. But once Elliott begins trying to tell everyone it’s all a show, the Director decides that Elliott needs to be stopped. 

Elliott and Elena go out to dinner, and Elliott, to Elena’s embarrassment, loudly announces that the restaurant’s food is contaminated. They get kicked out of the restaurant and Elliott sees Tom and Vince and panics, running off and leaving Elena. Elliott hides out in a small bar, where a host from the local news station invites Elliott on for an interview the next night about him saving everyone in the office building. After Elliott arrives home, he discovers a note from Elena, breaking things off with him. 

The next day, Elliott discovers that his flat has been ransacked. Tom and Vince arrive and threaten Elliott, but he manages to escape, thanks to a grateful woman he saved and a cake. Tom and Vince are angry, and the Director is even angrier, as all Tom and Vince’s efforts have ended in failure thus far. The Director threatens Tom and Vince, who promise to get Elliott the next time. 

That night, during the interview, Elliott has a bit of a breakdown and begins trying to convince the host and other members of the studio about his wild discoveries. He keeps getting more and more agitated, eventually causing the interview to be cut off. Elliott leaves the studio for some fresh air. After some hesitation, Elena, who was watching the interview, follows after. As Elliott exits the building he is grabbed and bundled into the back of Tom and Vince’s car. They drive off just as Elena comes outside. 

Elliott wakes up in a small room with no windows, sitting at a table, interrogation-room style. Tom and Vince enter, trying to be menacing but failing. Elliott is angry rather than frightened, and demands to know what is going on. Tom mentions the fact that Elliott knows too much about the show, and Vince lets slip that the Director is not pleased. Elliott insists that he speak with the Director. Tom and Vince reluctantly agree, and call the Director. The Director shows up outside the door and speaks with Elliott. He is quite pompous and monologues, revealing vital information to Elliott, like the fact that Elliott’s reality is created and controlled by the Director, and the “actors” are merely puppets to him, like a giant video game. The only reason Elliott became aware of the cameras and began to have his premonitions was due to a glitch in the system that didn’t give Elliott his script programme. Elliott is still angry, and berates the Director, who gets angry and decides to cancel the show, rather than allow it to continue. Elena, who has been tracking down Elliott, then shows up. Elliott, Elena, Tom, and Vince manage to outwit the Director and escape, locking the Director inside the show’s reality. 

The show ends with the four living happily in the Director’s reality, closing with the Director’s face on a TV. screen, trying to escape. To be continued?