Give And You Shall Receive

It’s widely accepted that screenwriters shouldn’t use clichés.  But “give and you shall receive” is a proverb and therefore exempt.  So I hope I’ll get away with using it.  This concept is a very pervasive influence in my life, particularly now.  It all started with a script critique…

In 2005, I took superb online screenwriting training “The Professional Screenwriting Series”.  Having undertaken extensive directing training, I wanted to elevate my screenwriting skills to the same level.  It was an exceptional course during which I wrote my first feature-length screenplay Cracks In The Ice, which subsequently won acclaim from prolific screen professionals.  But that wasn’t all.  Something else happened during that training.  I met (online) a very talented writer and absolute gentleman named John David Mann (www.johndavidmann.com).  He gave me a very insightful script critique and we became great friends.  Since then, we have kept in touch via e-communications, written in Shakespearean English.  Makes me feel more literate

I had always hoped to collaborate with John someday, and that opportunity fortuitously presented itself within the past couple of weeks.  Through John (and Twitter), I have also become great friends with Bob Burg, author and inspirational public speaker (www.burg.com).  Together, Bob and John wrote a highly-acclaimed book called The Go-Giver.  Based on the premise that giving is the key to stratospheric success, the book became a Wall Street Journal and BusinessWeek bestseller.  In these difficult times, when every one of us is under economic pressure, this book has even more resonance today than when it was written.

Anyway, the three of us were tossing around ideas about how it could work as a movie when we suddenly considered the possibility of locating such a project in Ireland.  The Emerald Isle has a lot to offer in terms of tax incentives and co-production funding.  Not to mention the beautiful landscapes, friendly people and traditional pubs.  And with the Galway Film Fleadh – the biggest annual Irish film industry event, which includes a pitchfest – taking place in mid-July, all signs were pointing to a trans-Atlantic collaboration.  Amid dreams of a green field shoot followed by a red carpet premiere, the deal was done!

I will forever be indebted to John and Bob for trusting me to bring the essence of this inspirational book The Go-Giver to the big screen.  Their positivity and generosity of spirit are a daily source of joy.

The value of “give and you shall receive” is not subverted if applied to oneself.  It’s important that we all to do something nice for ourselves every day.  So for those of you who haven’t read the book, please treat yourself to it.  You’ll be amazed at the pleasure you receive from it.  And it won’t spoil your enjoyment of the movie, because there will be plenty of surprises in the film!

I look forward to bringing you on the main character’s dramatic journey, peppered with highs and lows.  Myself, John and Bob would like the process of making the movie to be very interactive, so please become a fan of ‘The Go-Giver’: The Movie on Facebook to be a part of this gratifying movie experience with us.

The Write Way To Speed-Date

Speed Dating.  What does it conjure up for you?  Horror at the idea of being considered a desperate singleton?  Fear of putting yourself on the line and not getting any dates?  Or – if you’re a newbie writer – is it a chance for a trial separation from your computer and fleeting fling with a director?  Or even better, a bunch of directors!  Well, you know what they say about filmmakers…

On 27th May in Dublin, dozens of writers took the leap into professional speed dating, with the Screen Directors Guild of Ireland and the Irish Playwrights and Screenwriters Guild playing Cupid.  I am usually on the other side of the table i.e. being the pitcher not the pitchee.  This change of seats was an eye-opening experience which makes me reflect with a red face on the previous pitches I’ve given.  What I learned is that being pitched at is like being hit in the face repeatedly and I promise to atone to anyone I’ve metaphorically assaulted if they ever let me pitch to them again.

There’s an art to pitching, especially when the meetings are very brief.  The instinct is to launch straight into pitching the story in order to make the most of every second.  The problem is that no pitchee can absorb information constantly for 9,000 seconds.  So it’s better to impart a concise summary of the story which hooks the listener.  What’s that called again?  Oh yes, a Logline!  Say it with me: Logline.  It’s not an anti-social disease.  If you have one, you won’t need to go to the Betty Ford clinic to get rid of it.  For those writers who are allergic to loglines (you know who you are), read the first chapter of Blake Snyder’s book “Save The Cat”, which explains why they’re essential.  For those of you who still want a career in screenwriting after a pitch session with me, read the whole book.

There are excellent online resources for learning to write loglines and synopses.  One of the best is www.scriptforsale.com.  You could also read the loglines on www.inktip.com to learn which ones work.  Ask yourself: how does your logline compare?  (Cue ‘Jaws’ music)

It’s not all about the script though.  You have a personality too.  If it’s covered in dust due to the fact that your computer – which is your constant companion – doesn’t require its use, polish it up and bring it with you. Passion for your project will be your trump card.  It’s also good to have a non-Fifth-Amendment answer prepared about why you want to spend your life in poverty, allowing other filmmaking-addicts to desecrate your treasured masterpieces.

So let’s imagine for a moment that the meeting goes well and the pitchee wants to read the script.  How will they get it?  Do you:
(a) hand them a hard copy, which they must then carry to the pub afterwards for much-needed scoops, resulting in an inebriated loss of your copyrighted (you have protected it, haven’t you?) screenplay?
(b) take out your iPhone and e-mail them a wrongly-formatted script with no page numbers but with spelling mistakes?
(c) hand them a superbly-written one-page, which also lists your contact details?
(d) hand them the superbly-written one-page along with a well designed business card listing your contact details and social media links?
Answers on Twitter please to @FionaAshe

If you survive the pitch, convince the pitchee to read your script and are still married to the idea of a screenwriting career, what’s the next step?  You’ve got approximately four days before s/he forgets who you are.  So should you:
(a) wait for her/him to get in touch with you?
(b) send a thank-you e-mail to the pitchee without attaching the requested script?
(c) send a thank-you e-mail to the pitchee with the script attached in Final Draft when s/he uses Movie Magic Screenwriter?
(d) send a thank-you e-mail to the pitchee with the script attached in the correct file format but without your contact details, website or social media links?
(e) send a thank-you e-mail to the pitchee with the script attached in the correct file format and your contact details / website / social media links, but without any reference to the pitchee’s work (doesn’t s/he have a website)?

So the moral of this blog-story is that making a living from screenwriting isn’t all moonlight and roses.  You need to work your business muscles.  Pump that professionalism!

If you were at the joint-Guild speed-dating: remember that we – the directors – met dozens of people in quick succession, so help us out to remember you.  Thanks to Niall Queenan who e-mailed me the following reminder:
“I saw you toward the end of the second group, spiky haired chap”.
That’s the way all dates should end: with a good memory and a smile on my face!

‘Rapunzel – The Blonde Years’ to screen at Austrian festival

Orlaith Doherty in 'Rapunzel - The Blonde Years'

NEWS

I’m pleased to announce that my short film ‘Rapunzel – The Blonde Years‘ has been selected to screen at the 11/22 International Comedy Short Film Festival in Austria in June.  The film was written and produced by Trish Groves and commissioned by the Irish Film Board under its innovative Virtual Cinema scheme.  It has already been screened at the Galway Film Fleadh and Darklight Film Festivals – both in Ireland, and also in the WOW (World of Women) Film Festival in Australia.

ABOUT THE FESTIVAL
The name Eleven-Twentytwo refers to the two categories of the Festival, which are carried out as two independent competitions:
- Category 11: for all films up to max. 11:59 min. of total runtime
- Category 22: for all films from 12 up to max. 22 min. of total runtime

The winner of each category will receive the 11/22 trophy and EUR 1,122 cash prize.

The public screenings of the films selected by the jury will take place in Vienna’s oldest comedy-theatre Kulisse on four evenings. On the last day of the Festival there will be a gala including a screening of the nominated films and the announcement of the winners.

The Festival 2009 will take place from June 16th to June 20th.

email: director@fionaashe.com
website: http://www.fionaashe.com

Do Not Go Gently Onto That Film Set

Fiona Ashe on the set of BBC drama 'George Gently'

It was early (7am). It was cold (0 degrees). It was the 1960’s (well, on set anyway). This was my first day shadowing the director of BBC period drama ‘George Gently’, which was being filmed in Ireland. As I arrived at base, I was quickly warmed up by a welcoming reception from the cast and crew. A healthy breakfast of porridge and soya milk (offset by less healthy – but very tasty – sausages) further built my anticipation.

I was bussed with the crew down to the set: a captivating disused mill beside a fast-flowing river. Vintage cars added to the aesthetic landscape. There I met up with director Ciaran Donnelly, whom I was delighted to have the opportunity to shadow. I think the episode of ‘The Tudors’ for which he won the 2009 Directing IFTA was one of the finest episodes of television drama I’ve ever seen.

Ciaran started the day with establishing shots of Chief Inspector Gently (Martin Shaw) and Detective Sergeant Bacchus (Lee Ingleby) arriving at the mill. After getting coverage of this shot, three boys with toy guns joined the cast. They had to run through the mill shooting each other. They performed very well, but it was interesting to see how filming children requires a different approach from the director and 1st AD.

Cups of hot ginseng kept the team pepped up while shooting the exteriors. Later the cast expanded to include more featured characters and a group of extras. I really felt for them on the chilly afternoon, since their costumes were light. I paid close attention to the staging and shots that Ciaran chose to ensure coverage. These scenes involved more hands-on directing of the actors, which I enjoyed watching.

During a break in filming, I had a wonderful conversation with Martin Shaw. A consummate professional, he put in an excellent performance during the shoot, despite acute back pain. He shared with me personal stories of how his son got his break in directing and we had a lengthy discussion about the fantastic collaboration that can happen between directors and actors during rehearsal time.

The following Monday, I arrived on set, enthused about spending a second day on this exciting production. I was greeted like a member of the crew (thanks for that!) The production crew were refreshed after catching up on sleep over the weekend – and full of craic after catching up on their social lives at a Saturday night party.

The scenes that day were all interiors in attractive locations. One room contained a dozen vintage red milling machines. Another featured wooden beams throughout, which looked fabulous when semi-obscured by smoke. However, the compactness of the locations created challenges in terms of laying tracks and selecting camera angles. I was very impressed with the crew, who good-humouredly lugged heavy tracks, dollies and lights up five flights of stairs.

Much of the day’s shoot centred on a hanging. I learned that it requires 30% more setup time to film a stunt. It was exciting to see it being staged and filmed. One of the key responsibilities of a director is to get the job done on schedule. The stunt hanging put the production under time pressure, and Ciaran efficiently stepped the filming up a gear – with the cooperation of the very professional cast and crew – only going four minutes over schedule.

The benefits of the Screen Directors Guild of Ireland (SDGI) Mentoring Programme go far beyond observing the process of filming drama. The opportunity for the emerging director to ask questions of and seek advice from the mentor adds significant value to the process. I am extremely grateful to Ciaran who – despite the challenges the shoot presented – was generous with his time and forthcoming with advice. I am also grateful to the superb cast and crew who made me very welcome and to Claire, Liz and Birch (in abstentia) at SDGI for this progressive mentoring initiative.

email: director@fionaashe.com
website: http://www.fionaashe.com

Emerging Irish director joins WordPress

Hi everyone, my name is Fiona Ashe an I am an award-winning Irish director, who has completed five short films and three musical theatre DVDs. I have been commissioned by the Irish Film Board, sold a film to RTE (Irish national broadcaster) and won an international award. I have several feature-length film & TV dramas in development (in English and Irish), and I welcome approaches from producers seeking new collaborations.

email: director@fionaashe.com
website: http://www.fionaashe.com