How to Write Outstanding TV & Movie Loglines: The ULTIMATE Guide There’s no doubt about it: A fundamental step in the initial stages of writing a screenplay is devising the perfect Logline. Having the ability to create a concise and effective summary of your story is a big step
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THE INSIDER INTERVIEWS: MATT ORTON The Insider Interviews series started in 2010 as a set of recorded interviews, featuring the likes of Tom Hiddleston, Gareth Unwin, who produced THE KING’S SPEECH, Ben Wheatley and Hossein Amini, the Oscar-nominated writer of DRIVE and THE TWO FACES OF JANUARY. You can watch
Is the Subtle, Theme-rich Screenplay Dead? Theme-rich Screenplay Treated Unfairly? The plot-light, theme-rich screenplay is often – at the script development stage at least – unfairly maligned with the phrase ‘nothing happens’. But there are many that more than make up for that ‘nothing’ with atmosphere, character and theme, from
Like much of Paul Thomas Anderson’s work, the BOOGIE NIGHTS screenplay has an odd structure, divergent POV and a hefty length, yet every page of it is full of worthwhile lessons for screenwriters. Here are ten: Conflict doesn’t need to be constant Conflict is often billed as screenwriting currency: you’re
About THE INBETWEENERS script Before we get into the cases “for” and “against” both the script reader and their report on THE INBETWEENERS script, let’s just remind ourselves what he/she was reporting on! If you’ve never heard of British TV comedy THE INBETWEENERS, you’re probably either not based in
The critical acclaim, awards nominations and profoundly-felt audience reaction to ROOM highlight one of the most powerful tools in the screenwriter’s armoury – your choice of protagonist. Whether you’re writing a feature script or TV pitch or pilot, if you’ve already decided on a protagonist it’s still worth asking yourself:
I’ve spent the week in LA, (City of Angels & Devils) As I have previously mentioned, many times, I love LA and this time was no exception. I ate dinner on a table exactly next to Gwyneth Paltrow (she drank martini and wine, and did not order the ‘steamed vagina’),
What I’ve Learnt about Screenwriting: Part 1, The Idea So I’ve been doing this for a while now, and for some reason I feel a powerful, hubristic, intimations-of-mortality urge to communicate nuggets of web-friendly wisdom to all you aspiring screenwriters out there, who will no doubt be stealing jobs from me this
Screenwriting Envy “In order to succeed, your desire for success should be greater than your fear of failure”. Guess who said that? You never will. It was Bill Cosby! I have spent the past hour trying to find another quote to go alongside that one, possibly by someone like Ray
Most screenwriters would cite a moment in their careers that proved critical. It might be the day they signed with an influential literary manager, or the moment a key producer spotted something in their spec screenplay that piqued his or her interest. Of course, it might be more spectacular than that, and
The Rafn Column Part III Screenwriting – Hope Springs Eternal When I worked as a Development Executive, the most terrifying thing I ever had to do was fly to LA on my own to do a round of meetings to build relationships with the US agents, scout for sitcom showrunners
The script, the script, the script… I have always had a love affair with scripts. I love, love, love them. Love them warm coming off the printer, love the font that echoes the old Hollywood era when they would have been bashed out by men in high waisted trousers on
Where There’s a Will There’s a Way They say where there’s a will, there’s a way and if ever a profession needed to believe this mantra, it’s that of screenwriting. So pump yourself up, splash some cold water on your face and, as infamous ENTOURAGE uber-agent Ari Gold would say: “strap
Where is the celebrated female talent? Where is the celebrated female talent in screenwriting & directing? Recent figures cast a gloomy picture; employment of women in film and TV has fallen to 15 year lows; only two female directed films cracked 2013’s Top 100 Box Office, with Kimberley
A Crazy Script Can Beat The Odds Every screenwriter at one time experiences the look of confusion and ridicule in the face of a friend, producer or agent when they pitch their craziest or most ambitious ideas – but fear not, even some of the greats were once in the
13 Stereotypes of the British Film Industry: True or False? Does the British film industry produce the best talent? Does the land of Shakespeare respect the writer? Is anything happening outside of London? Industrial Scripts assesses perceptions of the UK film industry – where do you stand on the following
10 British Screenwriters Who Broke Into Hollywood Our own screenwriting talent is well known on these shores – Simon Beaufoy, Richard Curtis, David Hare, Abi Morgan, Tom Stoppard, Peter Morgan, William Nicholson… the list is impressive. But what about Brit talent working in Hollywood? Industrial Scripts looks at British Screenwriters
Mastering the basics is an essential step in any screenwriter’s career progression – and yet many aspiring screenwriters forego very simple script choices which would make their projects stand out from the swirling mass of unfilmable spec scripts.
As our article on Jeffrey Katzenberg highlighted, gathering industry intel is vital for making it in this business. Industrial Scripts looks to the best Twitter Screenwriting resources – from box office numbers, to job opportunities and just plain amusing screenwriters given a voice. Of course, there’s also our own @Indust_Scripts
Burning Bright Becoming a professional screenwriter is one thing, but staying at the top of the Hollywood screenwriters game is quite another. After last week’s look at Screenwriters Who Broke In Late, Industrial Scripts looks at those Hollywood screenwriters who hit the big time, but whose star gradually faded.
Despite the image of the wunderkind screenwriter a-la Orson Welles or Diablo Cody, many screenwriters broke in late to the game, with a wealth of wisdom and life experience to fuel their writing. As an encouragement to those who remember a time before the internet, or to those who are
“You can make the movie or you can make excuses” The path from script to screen is often torturous – but made longer when excuse making and defeatism set in. Industrial Scripts looks at common film industry excuses and defences no writer should be making – and how to overcome
Mid-Budget Movies Fading After Spielberg and Lucas’ dire warnings on the future of the film industry and the growing box office prominence of high budget tentpole releases, many audience members are asking; where are the mid-budget movies classics of yesteryear? Industrial Scripts breaks down the reasons behind the loss of
In America, screenwriters can earn an average annual wage of $77,260. At least, that’s what the Bureau of Labour Statistics tells us. The evidence is there: Bill Marsilii and Terry Rossio earned $5m for their spec of DEJA VU, while M. Night Shyamalan took home a healthy pay packet of £2.5m for THE
After years of hard labour, you birth your fledgling screenplay Little Miss Sunshine to the world, the film grosses $100m and you take the reins to the Star Wars Empire (the writing side of things, not the keys to a Death Star). Congratulations, you are Michael Arndt. But such debut
*Just launched*: our latest 1-day training seminar, EVERYTHING AMERICA, for Producers, Directors and Writers with one eye on working in Hollywood. Covers every possible aspect incl. Unions, Agents, Managers, VISAs, where to stay, common pitfalls, the TV industry, huge contacts sheets & much more. 1st course date runs on SUNDAY
As in previous years, the UK and Irish film community have compiled a list of their most liked and recommended unproduced screenplays that make up the Brit List Scripts 2011. Out of over 160 screenplays nominated the projects below achieved the 3 votes or more needed in order to appear on
Industrial Scripts Press Release 20.07.11 For immediate release: Industrial Scripts launches first UK writer promotion programme, backed by Curtis Brown Group The ongoing programme assesses projects and champions the best unrepped writing talent using Industrial Scripts’ experience and network. It is the first of its kind in the UK and
Talent Connector launches… This week (11/07) and next Industrial Scripts’ unique Talent Connector launches, for the first time. The scheme, which is only open to unrepresented writers and filmmakers, is the first of its kind in the UK and will address the increasing challenges facing new and disconnected talent in
The Brit List 2010 was officially unveiled today. Compiled by those working in the UK and Irish film community, the Brit List is a selection of the most liked and recommended unproduced screenplays. The idea of assembling such a list originated from the U.S., where their misleadingly named Black List