Friday, 4 September 2015

Industrial Scripts newsletter

The latest Industrial Scripts newsletter has some interesting information on Training Courses, Insider interviews and screenwriting opportunities:

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Industrial Scripts is a specialist story analysis & training organization, backed by major companies, delivering a range of consultancy and support services to writers, authors and filmmakers, globally.


With the sun finally setting on the Summer blockbuster season, it is time to look back on who won (Universal), who didn't (Sony) and who will be riding the sunset into the Autumn (China). Time for the August Newsletter...

August Quick Takes...

1. FEAR THE WALKING DEAD breaks primetime cable ratings record.
2. Roy Lee to tackle latest attempt at bringing TO THE WHITE SEA to screens.
3. Greg Malins exits as showrunner for Rob Lowe sitcom THE GRINDER.
4. Bruce Willis chooses Stephen King over Woody Allen.
5. ZORRO REBORN back on track with Shipman and McGreevy.

**OVERDRIVE opens - Application Only Script Development Community**

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Recently soft-launched to selected clients, our new OVERDRIVE community already has over 50 vetted members and is now open to wider applications.
In brief, we've listened to the producers, writers and directors who work with us.
Just about every online community these days seems to have an open-door policy, where anyone can join, and there's no real tangible benefit to them.
The result of this is clear - sub-standard networking, unprofessional behaviour, and no genuine value delivered.
Sometimes you can make a great connection, but no-one would deny it's very hit and miss.
With OVERDRIVE, we're dancing to a different tune:
▪ Strictly capped membership.
▪ Vetting process which includes submission of CV and career goals statement.
▪ Strict policing of member forums to ensure interaction and networking remains of a very high order.
▪ A giant list of 40+ unique member benefits.
▪ Price points affordable enough (from £5/$8 PCM) for all, but high enough to deter those merely playing around with script development and not treating it with the seriousness it deserves.
Who applies to OVERDRIVE?
Screenwriters looking to forcefully progress their projects through an established and supportive system
Producers looking to talent track and scout the next Hoss Amini or Gregory Burke, as well as bring their coverage and development in well under budget
Directors on the hunt for their long-term writer or brilliant spec, the one they're going to build their future around
Agents/Funds/Execs and Trackers looking to lock in the next wave of talent, before somebody else does, and before the commissions start flowing the the dreaded "he's unavailable" response starts coming back...

Our vision is of an elite script development hothouse, comprised only of producers, writers and directors with serious promise.

For all the above reasons, we only want the best people in OVERDRIVE. Indeed, for our vision to succeed, we have to recruit the best people.
Think you've shown enough to join?
Get your CV and application statement ready and Apply Now.
(or click here to view all OVERDRIVE benefits).

Remember: membership is capped and once all the places are gone, we'll be like Studio54: operating on a one-in, one-out basis...


The Insider Interviews LIVE - September

The Insider Interviews
In June we launched The Insider Interviews LIVE - an in-the-flesh spin-off of our popular online series, that has in the past featured the likes of Tom Hiddleston, director Ben Wheatley, producer Gareth Unwin and writer-director Stuart Hazeldine.
The new monthly Q & A/networking evening kicked off in London in June with Aaron Anderson, ex UK Film Council Premiere Fund and Scott Free executive, and in July on-the-rise producer Andy Brunskill took to the stage to share his advice and experience.
Book now for September's event:

- Monday 28th September - Ed Clarke, Head of Development, Shoebox Films who has worked on LOCKE, BRIGHTON ROCK and SALMON FISHING IN THE YEMEN.

The Insider Interviews LIVE gives writers and other script developers a great opportunity to network with our featured guest and IS staff in a relaxed and friendly environment.
Tickets to each month's event are strictly limited and if you would like to reserve your seat at one - or all - the events head on over to our booking page before everyone else does!


As conversations regarding equal opportunities rage amongst different sectors of the film industry, the Directors Guild of America have released a list of the TV shows that hire the most and least female and minority directors.
In all, twenty-seven shows were found to have made no effort to hire female or minority directors including audience and critical favourites like BOARDWALK EMPIRE, THE KNICK and IT’S ALWAYS SUNNY IN PHILEDELPHIA. Surprisingly, shows that focus on a strong female presence like THE COMEBACK or MOM were also among this group.
The best list, however, was populated with shows like HOMELAND (67%) and JANE THE VIRGIN (71%). Frustratingly, the top ten on the best list are the ones with significantly less reach and, from here, it could be argued that the programs making the most effort are the ones that are least likely to be seen (like BEING MARY JANE and SINGLE LADIES).


As the Chinese film market continues to boom, Warner Bros. have begun talks with the state-backed China Media Capital with a view to produce Chinese-language features for local audiences. These talks may lead to a joint venture company designed to invest in and produce films for that specific viewership that has come out in droves for recent China behemoth MONSTER HUNT and other blockbusters.
If the talks are successful, the move would be Warner’s second venture into the Chinese film production sector. It was previously involved in production and distribution in a joint venture with China Film Group.


The end of Chinese cinema’s “blackout period” was made official with a strong opening for TERMINATOR GENISYS, the first major U.S. title to be released in China for two months. Assisted by several appearances by Scwarzenegger himself, the fifth movie in the franchise managed a healthy $27 million from 69,000 screens.
Nearby, in Japan, JURASSIC WORLD is continuing its monstrous multiplex run with a third week at the top for a combined total of close to $50 million, making it Japan’s biggest hit for 2015 so far.

Fresh Content from Industrial Scripts

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Our site was designed with content in mind - and we roll out articles on a regular basis.
Never want to miss an IS article? Add our RSS Feed to your browser or email client, here.
View all our articles here.
"Figuring out how to get a bona fide literary management company to represent you is complicated, especially if you’re new(ish) to the entertainment industry. Unlike most things, Googling “literary managers” won’t instantly answer your questions. It’s a confusing marketplace, due, in part, to the semi-collapse of the full-time script development job market in LA in recent times... " [read the full article.]
"You’ve rewritten, redrafted, typed ‘Fade Out’ more times than you can count. You’re finally satisfied that your script, the one you’ve poured months maybe even years into writing, is finished. Now what? For most writers, the endgame is seeing their script up on the big screen or on television, and getting paid. But, how do you get..." [read the full article.]


A few opportunities for screenwriters to keep their eyes on....

IS goes past 500+ VERIFIED Client Reviews

Verified Authentic Cusomer Reviews Data
Long live the age of hard data.
Industrial Scripts is the 1st – and only – story analysis co. to sign up to independent, impartial reviews websites in order to allow its clients to publicly reveal what they think of the company’s services.
We are unique in that we rely on “verified” reviews rather than (faux?) testimonials from friends and colleagues which, as most people realise, are ultimately meaningless in a crowded, competitive marketplace.
Our consultants all have considerable experience working for and with the very best companies, and are currently very active in development (we don't believe in trading on past glories). We offer 20 different types of script development service, some are listed below, but you can visit our website to view them all...
If you're developing scripts, in any capacity, you'd be hard-pressed to find a more transparent service than ours. Just sayin...
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Talk is Cheap. We're all about the hard data. Click to read verified customer reviews about us.
"Which Logline?" Service - £40
"Should I spend 6...12...18...months of my life developing this project?" is a question that haunts many writers, who have more ideas than time. Here writers submit 10 loglines, and we put them in order of excellence, advising writers to channel their efforts into promising ideas rather than wasting time and energy writing developing dud projects.
Film Coverage Report - £135 * eligible for TALENT CONNECTOR
This report on feature-length scripts consists of 4+ pages of notes and feedback to help the writer move on to his or her next draft.
Film Forensic Notes - £300.00 * eligible for TALENT CONNECTOR
Our Detailed Development Notes service delivers an extremely detailed analysis of your feature script, together with lengthy suggestions on how to move forward to the next draft. These reports run to 14+ pages, and offer a truly forensic analysis of your script.
Script Doctoring - Fees Vary * eligible for TALENT CONNECTOR
Through our resident Script Doctors we offer writers, producers and directors the opportunity to have their project re-written, doctored, polished, re-structured and significantly improved according to their requirements.

View all 20 Script Development Services HERE.

Read 500+ verified customer reviews about us HERE


Who's Hot & Who's Not - August

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Who had a month to remember? Who's been burnt in the summer sun?
Here’s our run down of how industry figures fared in August.
1) The Cube Clan
With STRAIGHT OUTTA COMPTON hitting box office highs this summer, Ice Cube and son are soon to partner up again for L.A. Riots drama APRIL 29, 1992.
THR NWA Shoot 1
2) Universal
And on that note, the N.W.A movie has become the latest in Universal Studio’s summer domination. This outing follows releases like JURASSIC WORLD, MINIONS and Judd Apatow comedy TRAINWRECK to seal their place at the top of the profit margins.
3) Derek Connolly
The JURASSIC WORLD and SAFETY NOT GUARANTEED writer gets to work his magic on KONG: SKULL ISLAND for Legendary.
4) Lea Seydoux
Hot on the heels of her award-winning performance in BLUE IS THE WARMEST COLOUR, Seydoux looks to be continuing her mainstream profile in SPECTRE with a starring turn opposite Channing Tatum in GAMBIT.
5) Hayley Atwell
With AGENT CARTER starting up again shortly, Hayley Atwell has found herself all over the internet with fans passionately arguing her case for the next DR. WHO.
1) Oleg Sentsov
The Ukranian film maker, best known for 2011’s GAMER, was controversially sentenced to 20 years in prison after being found guilty in a Russian court on charges of terrorism.
2) Mel Gibson
Not content with his already marred reputation, the one-time Oscar winner for BRAVEHEART is in the headlines again for accusations of physical and verbal abuse on a News Corp. photographer.
3) Josh Trank/Fox
The FANTASTIC FOUR reboot made for a bad August for everyone involved... except its screenwriter Jeremy Slater who positively tweeted that he has “a good feeling about this year’s Razzies.”
4) Sony
Fox may have had a bad movie but Sony had a whole slew of them. From the outrage-inducing PIXELS to downright trainwreck ALOHA, Sony had a summer full of woe without a single hit.
5) Andrew Dettmann
The CHICAGO MED show-runner is recently out of a job due to creative differences. The spin-off from NBC’s CHICAGO FIRE has already undergone creative retooling following Laurie Holden’s departure – let’s hope it’s not a trend.

Amusing Snippet of the Month


What's On QT's TV?

Everyone knows Quentin Tarantino as the kind of writer/director who allows his influences to seep into his work - think CITY ON FIRE’s presence in RESERVOIR DOGS, the use of David Bowie’s CAT PEOPLE track in INGLOURIOUS BASTERDS or the numerous homages found in KILL BILL. With that said, is it possible that there is an opening for some TV-inspired beats in THE HATEFUL EIGHT?
In Tarantino’s latest interview with Vulture, the famed director was asked to give a rundown of his favourite current TV shows where he namechecked some unusual choices: “The last two shows that I watched all the way through were JUSTIFIED and HOW I MET YOUR MOTHER” he said, “I tried to watch the first episode of season one (of TRUE DETECTIVE), and I didn’t get into it at all. I thought it was really boring. And season two looks awful. Just the trailer — all these handsome actors trying to not be handsome and walking around looking like the weight of the world is on their shoulders. It’s so serious, and they’re so tortured, trying to look miserable with their mustaches and grungy clothes.”
For the full interview with QT, head on over to Vulture.

Opinion: Compelling Versus Likeable

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Your Hero fails to "save the cat"? Who cares!
One note that every writer has received at least once is about the likeability of their protagonist. “I didn’t like him/her” or “I just didn’t care” are two common responses from readers who didn’t see eye-to-eye with a story’s central figure. But, like all notes, it is what the note means rather than how it is worded that is important. In this case, what does this mean? Is my hero too much of a bad guy?
The honest truth is that your hero can be as morally dubious or unlikeable as you wish. Think about Willy from BAD SANTA. He’s an alcoholic chain smoker who frequently wets himself and has loud sex in the women’s big-and-tall changing rooms and, oh yeah...he’s also a serial thief.
The same could be said for murderous Beethoven fan Alex DeLarge (A CLOCKWORK ORANGE), the sociopathic socialite Patrick Bateman in AMERICAN PSYCHO or even Aaron Sorkin’s version of Mark Zuckerberg in THE SOCIAL NETWORK. But why do we like these guys? Why do we care what journey they are on?
The answer, simply put, is that, while they may not be likeable, they are incredibly compelling and the audience can’t get enough of them. In characters like the ones mentioned above, writers can learn the simple notion that audiences are there watching your movie in order to be entertained.
So, while a story about a nice guy learning to give back to the community through dressing up as Santa could give you a “likeable” protagonist, it could also mean that your audience will be bored for the next hour and a half. For writers, then, the idea is to write a compelling character that an audience will want to spend the whole film with and, most of the time, this is about forging someone unique and interesting.
In thinking about compelling protagonists, there is no need to look further than James Bond. He may have saved the world one or two (or twenty-three) times, but he’s also a serial adulterer (who has caused many women to become collateral damage) as well as being an alcoholic, gambling murderer (in case you hadn’t noticed).
But if he’s so bad, why do record-breaking numbers of people turn out for his adventures? The short answer (without getting into industry specifics) is that he’s a compelling, fascinating protagonist with bundles of charisma and the ability to handle himself in any situation. That’s right – being capable will become your “get out jail free” card if you ever need it...if you’re a movie character.
With all of this in mind, what kind of protagonist are you writing? Remember, it’s not good enough to write someone likeable or even hateable, they need to have that extra something to help them connect with an audience. But, once that element is in place, it doesn’t matter what they get up to as long as the audience will keep watching...

Unheralded Scene o' the Month: LUCY (2014)

In our "Unheralded Scene of the Month" section, our consultants nominate a classic film or TV scene, which in their view hasn't received the admiration it deserves.
It might be a scene from a classic movie, which has been crowded out by other, more "showy" scenes and set-pieces. It might be a deleted scene which is outstanding in its own right but wasn't quite in-sync or critical to the final cut of the film. Warning: MAJOR plot spoilers below.
The film: LUCY, writer-director Luc Besson's trippy actioner with Scarlett Johannson tapping into her cerebral potential and ass-kicking skills.
The plot: After being hand-cuffed to a mysterious briefcase and being handed over on a platter to Korean gangsters, LUCY (Scarlett Johannson) is stuffed with drugs and readied to traffic into the U.S. But when the drugs leak into her stomach, Lucy is given the ability to expand her mind as she goes from the standard 10% access of her brain to a full 100%. In typical Besson style, the story ratchets up the action whilst remaining faithful to the interesting, mind-bending concept. Cameos from Morgan Freeman and Choi Min Sik add flavour and legitimacy to what could have been a trashy pulp B-movie and elevated it to the status of Box Office conqueror.
The scene: Lucy has made her way into the hospital emergency room and, while the surgeons remove the drugs from her intestine, Lucy makes a phone call to her mother. You can watch the scene here.
Why it's unheralded: As a quieter moment in a sci-fi-action-thriller, it could be easily missed by most audiences expecting heavy action or psychedelic VFX.
Why it's great: The fact it is a quieter moment makes it an anomaly in this frenetic journey and, more than that, this scene creates the emotional anchor that allows for an easy bond with the protagonist. In this scene, Lucy is shown to reminisce with memories of her family at the climax of what has been a very emotional situation (she’s been used a drug mule and chased by gangsters). While feeling this way is a familiar notion to most of us, the film manages to make this more intense through the effects that the drug has. Lucy can feel what it was like in her mother’s womb and taste her milk in her mouth and, because of this, an emotional bond is formed and Lucy (who was mainly a cipher for high-octane thrills) is finally developed into a fully-dimensional character.

Spec-Spotter - Development Intel

Information is power in the film & TV industries, so here is our vital burst of screenwriting-related intel for your mainframes!
Lionsgate go on-the-run with SARAH
Lionsgate pick up grounded sci-fi thriller (originally called SARAH) from scribe John Gary.
Strauss-Kahn scandal getting the Warner. Bros treatment
Ben Kopit, a recent graduate from UCLA, sells his THE LIBERTINE with a blind script deal attached.
Zach Dean writing Carl Sagan's biopic for Warner Bros.
Worrell on a role
Dwain Worrell, the writer of recent sales for THE WALL and MIND CORP, sells pitch for a fantasy epic version of DANTE'S INFERNO.
Master of the universe
THOR writer Christopher Yost adapting MASTERS OF THE UNIVERSE for Sony.
Anyway that's about all from us for another month, but just scroll down for details of our script development services and upcoming training courses, not to mention our exclusive Insider Interviews series.
The Industrial Scripts Team

Online Industry Training Courses

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Write the Great American TV Script

Launched recently, our online course dedicated to American television writing is comprised of 6 core modules and 32 detailed lessons, including: Writing for Network & Niche Audiences, How to Handle Multi-Protagonist Drama, The Many Faces of Comedy, Planning from Pilot to Multiple Seasons and many more.
In addition, the course also includes detailed case studies of both successful – and unsuccessful – major recent U.S. shows: GAME OF THRONES, THE WIRE, BREAKING BAD, THE BIG BANG THEORY, TERRA NOVA and LEGIT.
Book this online course HERE.

Screenwriting for Film Online

Write a full spec script while taking our much-loved online screenwriting course. Lessons include: the Stages of Screenwriting; Testing Ideas; Conflict; The Hero’s Journey; Developing Theme; Character Development and many more (see full breakdown below).
Book this online course HERE.
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Write the Great Novel Online

Comprised of 8 core modules and 31 extended lessons, this course delivers huge value-for-money, and takes 100+ hours to complete. Lessons include: Tension Building; Varying the Narrative; The Importance of a Title; Developing Great Characters; Preparing to Submit your Novel; Self-Publishing and many more
Book this online course HERE.

UK Industry Training Courses



At Industrial Scripts we run premium, high-quality training courses which deliver serious value to participants. Our courses are tailored to suit the requirements of the industry, and are led by professionals with proven track records of success in their own individual area of the business.
For 5 years we've been running training courses in script reading, low-budget filmmaking and screenwriting. We currently run 2 offline courses:
ULTIMATE SCREENWRITING is our first screenwriting course and has been designed for creative individuals who possess great ideas for films or TV shows, but don’t know where to begin - and intermediates looking to hone their skills. It delivers a huge amount of information, condensed into one intense day, to participants new to screenwriting, new to writing, or both. Focussing on both the writing process, and the industry writers find work in, the course aims to heavily de-mystify the process by which people become professional screenwriters, and help new writers navigate the sometimes precarious early years of the screenwriter.
Next course date: Saturday 26th September 2015
Our EFFECTIVE SCRIPT READING 1-day training seminar continues to go from strength to strength, winning consistently stellar feedback from participants...:

effective script reading
The course includes comprehensive contacts documents detailing all the paid script reading outlets in film and TV in the UK, and also offers attendees indefinite, ongoing email and phone support once the course is over. We can't turn you into a great script analyst overnight, but we can speed you up and save you a lot of time and effort in the process. Click here to book.
Next course date: Saturday 19th September 2015

The Insider Interviews



Industrial Scripts brings you The Insider Interviews - exclusive FREE content from leading industry professionals that you can't access, anywhere else. Click here to listen to these free interviews:
Screenwriter & Director Hoss Amini (DRIVE, THE TWO FACES OF JANUARY)
Coming Soon...
STORY Guru Robert Mckee
"Charlie Kaufman...what an as*...he's Mr. Theory! He's not an anti-theorist!"
Listen to the podcast...
Screenwriter Kevin Lehane (GRABBERS)
"I think the horror-comedy is a really tough genre...I wanted to write a monster movie, like TREMORS, or GREMLINS".
Listen to the podcast...
Head of Development Sophie Meyer (Ealing Studios)
"If I had to boil it down to one thing it would be "does it make you care?"
Listen to the podcast...
Writer-Director Ben Wheatley (KILL LIST, DOWN TERRACE)
"Short films are a waste of time...I thought if I was going to put in that much effort, I may as well try and make something I can sell..."
Listen to the podcast...
"I wrote 12 plays before I had anything produced..."
Listen to the podcast...
“I thought to myself "this is filmmaking: doing something you don't want to do and for which you will probably be punished by God!””
Film Journalist Nev Pierce (Editor-at-Large, Empire magazine)
"Interviewing directors is my favourite can be thrilling if you're meeting someone you sit down for 2 hours with David Fincher...I feel incredibly blessed to have that kind of opportunity".
Listen to the podcast...
Producer Gareth Unwin (THE KING'S SPEECH, EXAM)
"I'd done something a bit daft just through eagerness and I said to someone within The Weinstein Co. - "I hear I'm not in Harvey's good books anymore" and she said "Harvey doesn't have good books, there's just people he hates less that week!"
Listen to the podcast...
"(when the THOR call) came in I was just about ready to sing and was the longest audition process I've ever been through...".
Listen to the podcast...
Literary agent Rob Kraitt (Casarotto Ramsay)
'I once sold a book to Tom Cruise - it was before he and Michael Mann made COLLATERAL. It was a big six-figure deal and doesn't happen very often.'
[at the time of recording Rob Kraitt worked for AP Watt]
Listen to the podcast...
Literary agent Nick Marston (Curtis Brown Group)
'There are these moments in agencies when one generation wants to leave and the other generation has to somehow find the money to take over... and in our case that came from the 'honey pot' of the Winnie the Pooh estate.'
Listen to the podcast...
Ex Studio Executive Alexei Boltho (Paramount Pictures)
'A typical working day for me? Smoking cigars, that's about it really!'
Screenwriter Stuart Hazeldine (EXAM, THE DAY THE EARTH STOOD STILL, KNOWING)
'I had to keep the faith, and finally the phone rang and it was a big agent from ICM in LA saying he had read my two scripts and wanted to take me on...'
Screenwriter David Scinto (44 INCH CHEST, SEXY BEAST)
'GANGSTER NO.1 is one of the best scripts we ever wrote, sadly in other hands it was ruined. Bastardised. Mutated. Amateur.'

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Industrial Scripts is a London-based script development and training organisation, founded by some of the UK's leading script analysts, delivering a wide range of script development, information and support services to writers and filmmakers from around the world.
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