I believe creating scripts for drama is one of the more difficult things you can undertake. One reason is that a script is essentially build upon one joke, and you have to make everything relate to that joke. You have to keep this simplicity in mind while creating a complex world around it. Often a script fails because it looses aim of it's joke or repeats the joke over and over without any complexity. I use the term joke, because of its simplicity, but could also talk about dramatic irony, the inner mystery or
So what is a joke. Here are some examples.
Silence of the Lambs: Starling hopes she can make the lambs stop screaming by saving the girl from Buffalo Bill, but she can't.
Seventh Seal: The Knight has lost all faith, but in facing the most meaningless of all, Death, he finds a new faith.
Sixth Sense: Crowe, the main character, believes he is supposed to save the boy, when in fact its the boy, who can save him.
Last Tango in Paris: The Brando-character has lost all faith in love because of his dead wife's betrayal, and takes out his despair on a young woman in a nihilistic sexual relationship. The joke is that he rediscovers love, but too late - death has been invited into the relationship and the young woman kills him to his big surprise.
When I work on my own scripts, I always stay in notebook-mode, collecting ideas, writing a few lines, arranging the rough structure, until I have a firm hold on the joke. Only then can I progress to treatment or script. In my work as a consultant, I have seen too many times, writers and directors setting out to write their script without a solid idea of their joke. The result is always what I call an unfinished script, even if it gets produced.
Sunday, November 15, 2009
Sunday, November 8, 2009
Back in CPH
I have returned to Copenhagen to find better paying jobs as a scriptwriter - and right away TV2, the second largest TV station in DK, had a public tender for a prime-time mini-series for 12-year olds and their families. Episode length 25 minutes, episode budget 200.000 euro. I have turned in two concepts. "Murder of Four", roughly translated from Danish (where murder is 'morder' and mother is 'mor' - so the title has a wordplay in Danish, as well as a link to a very popular feature film series from the 60s called "Father of four") - this is a crime story where four kids have to prove their mothers innocence. The other concept is a fantasy thing - a kind of ET story, but with supernatural creatures.
"Murder of Four" already has a producer attached, the danish company Thura Film. The fantasy-concept is still looking for a producer.
In mid November TV2 will call in a selection of projects for a pitch session. Based on that, they'll choose 3-4 projects to begin development - each handed roughly 7000 euro to write a first episode and story-line for the following two episodes. Of those 3-4 projects they will eventually choose one to be produced later in summer 2010.
"Murder of Four" already has a producer attached, the danish company Thura Film. The fantasy-concept is still looking for a producer.
In mid November TV2 will call in a selection of projects for a pitch session. Based on that, they'll choose 3-4 projects to begin development - each handed roughly 7000 euro to write a first episode and story-line for the following two episodes. Of those 3-4 projects they will eventually choose one to be produced later in summer 2010.
Friday, July 3, 2009
ATHENS SCRIPT WORKSHOP
Over the summer The Athens Script Workshop will appear in a new form.
Daily 2 hour sessions will be held at Ianos on Stadiou 24 in the cafe from 4 to 6 pm. It begins Monday the 6th of July and will continue for 8 weeks.
Mondays: Introduction to script creation.
Introduces my view on drama and the creation of scripts. Participation free of charge.
Tuesdays: Principles of drama.
We talk about the basic principles of drama with examples of how they work and how to work with them.
Wednesdays: Toolbox.
After principles, we look at tools for better writing, like act models, creative methods and simple tricks.
Thursdays: Writing exercises.
Based on principles and the toolbox writing exercises to develop your understanding of them.
Fridays: Your writing.
We take a look at the participants own writing, either a project or your exercise-writing. Your choice.
The setting will be informal, discussion is welcomed and participation is flexible - meaning you only have to show up for the type of session you find useful.
Payment follows this simple form. Enrollment: 50 €. After that: 5 € per session you participate in.
If you have questions about the workshop email me. You can find my email address in my profile.
Daily 2 hour sessions will be held at Ianos on Stadiou 24 in the cafe from 4 to 6 pm. It begins Monday the 6th of July and will continue for 8 weeks.
Mondays: Introduction to script creation.
Introduces my view on drama and the creation of scripts. Participation free of charge.
Tuesdays: Principles of drama.
We talk about the basic principles of drama with examples of how they work and how to work with them.
Wednesdays: Toolbox.
After principles, we look at tools for better writing, like act models, creative methods and simple tricks.
Thursdays: Writing exercises.
Based on principles and the toolbox writing exercises to develop your understanding of them.
Fridays: Your writing.
We take a look at the participants own writing, either a project or your exercise-writing. Your choice.
The setting will be informal, discussion is welcomed and participation is flexible - meaning you only have to show up for the type of session you find useful.
Payment follows this simple form. Enrollment: 50 €. After that: 5 € per session you participate in.
If you have questions about the workshop email me. You can find my email address in my profile.
Monday, June 15, 2009
THE GREEK FILM MIRACLE!!!
Isn't that a headline we all would like to see in the world news? Greece possesses many of the elements to create such a miracle - and what's more, because of it's proud heritage of ancient drama, myth and epic, the world would be ready to embrace it.
In my mother country, Denmark, such a miracle took place throughout the '90s and is still more or less going on. The international film world suddenly noticed this little country with just above 5 million inhabitants. Lars von Trier's films, Festen by Thomas Vinterberg and many other films became export articles for the international market. But even more amazing, but less well-known, is that in the home market Danish films are consistently able to go head to head with Hollywood productions at the box office - as maybe the only European country. In any given week of the year you will find several Danish films in the top 10 of sold tickets, often ahead of American blockbusters.
What already exist in Greece is a dedicated film audience - the Greeks love cinema - and as any other nation, they like to see film in their own language, dealing with conflicts of their own culture. But on a regular basis Greek films fail to garner a real audience. There is the occasional Greek hit film, but it is too little. Every month of the year should feature a new Greek hit film - a hit with audiences and/or critics. So what's wrong here? Greece has both quality actors, cinematographers, directors, set designers and so on. In my eyes there are only two really weak links in the Greek film industry - the script and the production. And I believe that by focusing intensely on improving these two factors, Greek film could turn itself into a miracle of European cinema.
For Denmark the miracle was a great thing, not only for national pride, but also for the national budget. Money was made in more than one way. And when the Socialdemocrats, who had helped the miracle happen by advancing the state's financial support for film development and production, lost government power and was replaced by a right-wing government led by a party, whose ideology included a belief in a minimal state, there were people in the film industry who feared the celebration would come to an abrupt end. Because for a small nation like Denmark (and Greece) it is imperative for the film industry to have the state share a part of the risk of developing and producing films, as we can never establish multi-billion dollar studios like in Hollywood, who are able to carry the full burden of risk.
Luckily the new right-wing government in Denmark quickly realized that we now live in a world were the so-called creative industries become rapidly more important for the economy of a developed nation. Even though oil and other natural resources are still important, it is non-depletable creative commodities like films, music, novels and theatre which can add to and maintain a nations competitiveness. Apart from the immediate financial gain, they are invaluable in building the image of the nation, as well as to help to attract companies and highly skilled professionals in fields of IT, finance and medico-industries to choose the country as their place of operation. The old global powers arose by wealth of hard resources like oil and minerals supported by the hard power of military, the new global players wield soft power in the form of culture, knowledge and economics. In Denmark, a nation almost devoid of natural resources, this is understood better than anywhere else.
Greece is in a better position than almost any country I can think of to ultimately harvest the full gain of such an image-boost from a film miracle. First because the Greek nation has it's proud ancestry - it is as a matter of fact the place where western drama was invented - which means that the idea of a Greek film miracle, once it it happens, will be even stronger and convincing in the minds of the rest of the world. Secondly because one of the main industries is tourism - and even though it is nice for Greece that the new ABBA-film takes place on Skopelos, and Captain Corellis' Mandolin was filmed on Kefallonia, these films are not Greek, and therefore they don't really add much to an authentic image and branding of Greece as an exciting place to live, work, have fun and vacation. (As a side-note its worth to mention that Denmark's attractiveness as tourist destination has been steadily climbing since the film miracle happened - and this in a country who has much less to offer in terms of sunshine and amazing landscapes).
In the 80s no one was at all excited by Danish films, and if anyone had said that in 10 years there would be talk of a Danish film miracle, it would had been met by laughter or ridicule. In Greece I have often met an attitude, that something like the Danish film miracle could never happen here - for hundreds of different reasons. But guess what, in Denmark it didn't happen by itself. And it didn't happen just because the state gave some more money in support. It mainly happened because The Danish Film Institute and a string of clever new producers understood that the script is the all-determining factor for the success of a film - blockbuster or art-house. And because the producers understood to cooperate, despite being competitors, realizing that being in a small country, they had more to think of themselves as parts of bigger whole, than just small kings with each their small kingdom. And when it started happening they could gradually produce more and more films each year, making it possible for a greater group of directors to actually shoot a feature film more than once per 5 years - which in turn made them better and more confident directors - and the self-generating circle of success had begun. As it is now in Greece my guess is that most of the younger talented directors are just thinking about making one film in Greece that will make them get away from Greece and all the way to Hollywood or some other place of greater promise. It's up to the producers and politicians to make them wish to stay.
To do this the Greek Film Center and the greek producers need to invest heavily in script development. Create a pool of professional scriptwriters by educating them and paying them for any kind of work they do - also for synopses, treatments and scripts that doesn't get produced. Make any director who is not obviously talented at writing understand that they need a scriptwriter - if they don't understand this, simply tell them their film will not be produced without a solid script. This is of major importance: Stop producing films with weak scripts. Simply stop - invest the money in more scripts. Have far too many scripts in development. Every time you plan to produce one film, develop 10 scripts. One successful film will pay for the 9 other scripts. The script is the foundation for successful films - and the brilliant script doesn't just spring from divine inspiration, or a famous book or the mind of strong visual director - the brilliant script arises from a dedication to examine and resolve conflicts by adhering to a strict logic of drama. And that dedication and that logic was invented here - reclaim it.
The Greeks are wonderful people, full of life and therefore drama and stories. They are both tremendously proud, but also at times openly ashamed of their nation. I believe this gives a unique position to be the new century's cinematic storytellers, as we are entering a period where the kind of American blindness to own weaknesses are becoming increasingly out-of-fashion, even with a mainstream audience. Greek film producers and visionary politicians, who understands the value of cultural policy in the new world of soft power, need to come together and create the circumstances to unleash the Greek Film Miracle.
In my mother country, Denmark, such a miracle took place throughout the '90s and is still more or less going on. The international film world suddenly noticed this little country with just above 5 million inhabitants. Lars von Trier's films, Festen by Thomas Vinterberg and many other films became export articles for the international market. But even more amazing, but less well-known, is that in the home market Danish films are consistently able to go head to head with Hollywood productions at the box office - as maybe the only European country. In any given week of the year you will find several Danish films in the top 10 of sold tickets, often ahead of American blockbusters.
What already exist in Greece is a dedicated film audience - the Greeks love cinema - and as any other nation, they like to see film in their own language, dealing with conflicts of their own culture. But on a regular basis Greek films fail to garner a real audience. There is the occasional Greek hit film, but it is too little. Every month of the year should feature a new Greek hit film - a hit with audiences and/or critics. So what's wrong here? Greece has both quality actors, cinematographers, directors, set designers and so on. In my eyes there are only two really weak links in the Greek film industry - the script and the production. And I believe that by focusing intensely on improving these two factors, Greek film could turn itself into a miracle of European cinema.
For Denmark the miracle was a great thing, not only for national pride, but also for the national budget. Money was made in more than one way. And when the Socialdemocrats, who had helped the miracle happen by advancing the state's financial support for film development and production, lost government power and was replaced by a right-wing government led by a party, whose ideology included a belief in a minimal state, there were people in the film industry who feared the celebration would come to an abrupt end. Because for a small nation like Denmark (and Greece) it is imperative for the film industry to have the state share a part of the risk of developing and producing films, as we can never establish multi-billion dollar studios like in Hollywood, who are able to carry the full burden of risk.
Luckily the new right-wing government in Denmark quickly realized that we now live in a world were the so-called creative industries become rapidly more important for the economy of a developed nation. Even though oil and other natural resources are still important, it is non-depletable creative commodities like films, music, novels and theatre which can add to and maintain a nations competitiveness. Apart from the immediate financial gain, they are invaluable in building the image of the nation, as well as to help to attract companies and highly skilled professionals in fields of IT, finance and medico-industries to choose the country as their place of operation. The old global powers arose by wealth of hard resources like oil and minerals supported by the hard power of military, the new global players wield soft power in the form of culture, knowledge and economics. In Denmark, a nation almost devoid of natural resources, this is understood better than anywhere else.
Greece is in a better position than almost any country I can think of to ultimately harvest the full gain of such an image-boost from a film miracle. First because the Greek nation has it's proud ancestry - it is as a matter of fact the place where western drama was invented - which means that the idea of a Greek film miracle, once it it happens, will be even stronger and convincing in the minds of the rest of the world. Secondly because one of the main industries is tourism - and even though it is nice for Greece that the new ABBA-film takes place on Skopelos, and Captain Corellis' Mandolin was filmed on Kefallonia, these films are not Greek, and therefore they don't really add much to an authentic image and branding of Greece as an exciting place to live, work, have fun and vacation. (As a side-note its worth to mention that Denmark's attractiveness as tourist destination has been steadily climbing since the film miracle happened - and this in a country who has much less to offer in terms of sunshine and amazing landscapes).
In the 80s no one was at all excited by Danish films, and if anyone had said that in 10 years there would be talk of a Danish film miracle, it would had been met by laughter or ridicule. In Greece I have often met an attitude, that something like the Danish film miracle could never happen here - for hundreds of different reasons. But guess what, in Denmark it didn't happen by itself. And it didn't happen just because the state gave some more money in support. It mainly happened because The Danish Film Institute and a string of clever new producers understood that the script is the all-determining factor for the success of a film - blockbuster or art-house. And because the producers understood to cooperate, despite being competitors, realizing that being in a small country, they had more to think of themselves as parts of bigger whole, than just small kings with each their small kingdom. And when it started happening they could gradually produce more and more films each year, making it possible for a greater group of directors to actually shoot a feature film more than once per 5 years - which in turn made them better and more confident directors - and the self-generating circle of success had begun. As it is now in Greece my guess is that most of the younger talented directors are just thinking about making one film in Greece that will make them get away from Greece and all the way to Hollywood or some other place of greater promise. It's up to the producers and politicians to make them wish to stay.
To do this the Greek Film Center and the greek producers need to invest heavily in script development. Create a pool of professional scriptwriters by educating them and paying them for any kind of work they do - also for synopses, treatments and scripts that doesn't get produced. Make any director who is not obviously talented at writing understand that they need a scriptwriter - if they don't understand this, simply tell them their film will not be produced without a solid script. This is of major importance: Stop producing films with weak scripts. Simply stop - invest the money in more scripts. Have far too many scripts in development. Every time you plan to produce one film, develop 10 scripts. One successful film will pay for the 9 other scripts. The script is the foundation for successful films - and the brilliant script doesn't just spring from divine inspiration, or a famous book or the mind of strong visual director - the brilliant script arises from a dedication to examine and resolve conflicts by adhering to a strict logic of drama. And that dedication and that logic was invented here - reclaim it.
The Greeks are wonderful people, full of life and therefore drama and stories. They are both tremendously proud, but also at times openly ashamed of their nation. I believe this gives a unique position to be the new century's cinematic storytellers, as we are entering a period where the kind of American blindness to own weaknesses are becoming increasingly out-of-fashion, even with a mainstream audience. Greek film producers and visionary politicians, who understands the value of cultural policy in the new world of soft power, need to come together and create the circumstances to unleash the Greek Film Miracle.
Wednesday, April 29, 2009
Synopsis, Outline, Treatment? Part 2
This time about the outline. This tool doesn't get mistaken and is virtually never used as a sales tool. It is pretty simple and straight forward. In my own process this is the tool I use consistently throughout. From beginning to end.
It is a short description of each and every scene. The basics. Where, who, action, conflict, essential information. As brief and to the point as possible. Sometimes I throw in a single line of dialogue, I find crucial.
In the beginning I sketch this out in a notebook. I separate the notebook into four acts and then I begin to fill in scenes. At first I'm looking for the important scenes. The plot-point-scenes, any scenes that have given me the inspiration in the first place and scenes that are essential in linking those together. From there on it becomes about filling in the blanks - creating the smaller stepping stones. Often I separate the acts themselves into smaller units - sequences each driven by one question, task or idea. I give everything - scenes, sequences and acts - titles to re-inforce what they are about. Some use the much beloved index-cards for the whole re-shuffling thing. This doesn't speak to me, but I see why it works. For me, when the re-shuffling becomes the main job, I move from notebook to computer, because its often the same time I want to expand my notes on each scene into something more concise and clearly written.
This process form the basis for the two other short-forms - the treatment and the synopsis. The treatment being the natural expansion of the outline and the synopsis being the condensation. I do the synopsis to demand of myself the discipline to focus on the drama's most essential plot movements, conflict and narrative strategy - and not getting lost in detail and darlings. To be able to later on verbally narrate the story within half an hour and below, without missing the key elements, but making it sound like a movie. Late in the process, working with a director, it will easily become the reference tool and your common road-map to the full treatment/script. So it's a real handy thing.
The outline is the spine of the development process in many ways. It lets you develop your whole script without actually writing it - and contrary to belief and our job title, we are really not writers in the, you know, author sense. We are more like composers, I think. The outline also lets you remain flexible, able to play and goof around with your drama (notice how I keep saying drama, instead of story - again because we are not story-writers, but composers of drama). The moment you have actually written those scenes as scenes with dialogue and all the stuff, you get bogged down by them. It becomes more difficult to change, to play and goof. I know it's tempting to get into the writing of scenes. I feel the urge. I see it all the time when I am a teacher or consultant, how people want to skip the development and just write those scenes. If you have not already become accustomed to the development through outline, synopsis and treatment - start getting there and save yourself some trouble.
It is a short description of each and every scene. The basics. Where, who, action, conflict, essential information. As brief and to the point as possible. Sometimes I throw in a single line of dialogue, I find crucial.
In the beginning I sketch this out in a notebook. I separate the notebook into four acts and then I begin to fill in scenes. At first I'm looking for the important scenes. The plot-point-scenes, any scenes that have given me the inspiration in the first place and scenes that are essential in linking those together. From there on it becomes about filling in the blanks - creating the smaller stepping stones. Often I separate the acts themselves into smaller units - sequences each driven by one question, task or idea. I give everything - scenes, sequences and acts - titles to re-inforce what they are about. Some use the much beloved index-cards for the whole re-shuffling thing. This doesn't speak to me, but I see why it works. For me, when the re-shuffling becomes the main job, I move from notebook to computer, because its often the same time I want to expand my notes on each scene into something more concise and clearly written.
This process form the basis for the two other short-forms - the treatment and the synopsis. The treatment being the natural expansion of the outline and the synopsis being the condensation. I do the synopsis to demand of myself the discipline to focus on the drama's most essential plot movements, conflict and narrative strategy - and not getting lost in detail and darlings. To be able to later on verbally narrate the story within half an hour and below, without missing the key elements, but making it sound like a movie. Late in the process, working with a director, it will easily become the reference tool and your common road-map to the full treatment/script. So it's a real handy thing.
The outline is the spine of the development process in many ways. It lets you develop your whole script without actually writing it - and contrary to belief and our job title, we are really not writers in the, you know, author sense. We are more like composers, I think. The outline also lets you remain flexible, able to play and goof around with your drama (notice how I keep saying drama, instead of story - again because we are not story-writers, but composers of drama). The moment you have actually written those scenes as scenes with dialogue and all the stuff, you get bogged down by them. It becomes more difficult to change, to play and goof. I know it's tempting to get into the writing of scenes. I feel the urge. I see it all the time when I am a teacher or consultant, how people want to skip the development and just write those scenes. If you have not already become accustomed to the development through outline, synopsis and treatment - start getting there and save yourself some trouble.
Friday, April 24, 2009
Synopsis, outline, treatment? Part 1.
Before ever writing a single scene or a single line of dialogue the scriptwriter should go through intermediary stages of sketching the drama. I don't know how it is in other corners of the world, but in many of the places I have been there seem to be some confusion about the different 'sketching'-formats. Fx. I hear producers, directors and writers use synopsis and treatment interchangeably. So I figured, I would describe my idea of them, their different incarnations and purpose. Here is my take on the synopsis.
The Synopsis
There are shorter formats - like a pitch or something in that neighborhood - but the synopsis is the shortest format, which is a real tool for the writer. The others tend to serve only the purpose of selling the story to producers.
The synopsis is short. But how short? In general I would say between 2-5 pages for a feature film. The synopsis of 2-3 pages is a presentation form and bordering on the verge of a sales tool, but can be useful in honing in on what your story is really about.
Being brought up in the Danish tradition I have been taught the 5-page synopsis, which has a really simple logic and formula. It goes like this:
Page 1: The first half page is used to describe the opening of the film, the hook or pitch, or what you want to call it, with some degree of detail. Then you spend the rest of the page on summarizing the action for the rest of the 1st act.
Page 2: The next half page is spend on what I call the initiating plot point - again with some detail. Rest of 2nd act is summarized on the remainder of the page.
Page 3: You guessed it, the next plot point - what I call the turning point - is again covered over a half page in detail - and then summary of the 3rd act.
Page 4: Do I really have to say it? Next plot point - I (and many others) call it the Point of No Return - in whatever detail you can fit in on half a page - and then a half page with the rest of 4th act (or almost the rest of it -- wait--wait...)
Page 5: The conclusion/climax - also a plot point - described in detail over a half page. That's it. Wait, it only tallies 4 and a half page? Well, it sounds awkward to say the 4-and-a-half-page synopsis - and anyway, the last half page, you are most probably going to use it up anyway, as you can't contain yourself to the strict half-page per plot point/act.
The obvious purpose of writing the 5-page synopsis is to flesh out the basic structure, get a feel for the rhythm and focus on the main story. Sometimes I start out with doing an outline and a rough treatment, and then I return to synopsis, to distill and purify the drama. Focus myself, before writing the first full treatment.
Later on in the process a sales synopsis might be written, either a short 2-pager or a full 5-page synopsis. Then it is the time to get obsessive about language. It really has to flow seamlessly. I often try to use some verbal language to soften up the highly condensed sentences. Especially when you find the exact right phrase, you can also reflect something about the tone of the film/situation.
Even if you don't use a 4 act model, you can figure out a similar way of writing a synopsis that fits your structure, where you detail the plot point and summarize the main body of action. Its all about rhythm.
The Synopsis
There are shorter formats - like a pitch or something in that neighborhood - but the synopsis is the shortest format, which is a real tool for the writer. The others tend to serve only the purpose of selling the story to producers.
The synopsis is short. But how short? In general I would say between 2-5 pages for a feature film. The synopsis of 2-3 pages is a presentation form and bordering on the verge of a sales tool, but can be useful in honing in on what your story is really about.
Being brought up in the Danish tradition I have been taught the 5-page synopsis, which has a really simple logic and formula. It goes like this:
Page 1: The first half page is used to describe the opening of the film, the hook or pitch, or what you want to call it, with some degree of detail. Then you spend the rest of the page on summarizing the action for the rest of the 1st act.
Page 2: The next half page is spend on what I call the initiating plot point - again with some detail. Rest of 2nd act is summarized on the remainder of the page.
Page 3: You guessed it, the next plot point - what I call the turning point - is again covered over a half page in detail - and then summary of the 3rd act.
Page 4: Do I really have to say it? Next plot point - I (and many others) call it the Point of No Return - in whatever detail you can fit in on half a page - and then a half page with the rest of 4th act (or almost the rest of it -- wait--wait...)
Page 5: The conclusion/climax - also a plot point - described in detail over a half page. That's it. Wait, it only tallies 4 and a half page? Well, it sounds awkward to say the 4-and-a-half-page synopsis - and anyway, the last half page, you are most probably going to use it up anyway, as you can't contain yourself to the strict half-page per plot point/act.
The obvious purpose of writing the 5-page synopsis is to flesh out the basic structure, get a feel for the rhythm and focus on the main story. Sometimes I start out with doing an outline and a rough treatment, and then I return to synopsis, to distill and purify the drama. Focus myself, before writing the first full treatment.
Later on in the process a sales synopsis might be written, either a short 2-pager or a full 5-page synopsis. Then it is the time to get obsessive about language. It really has to flow seamlessly. I often try to use some verbal language to soften up the highly condensed sentences. Especially when you find the exact right phrase, you can also reflect something about the tone of the film/situation.
Even if you don't use a 4 act model, you can figure out a similar way of writing a synopsis that fits your structure, where you detail the plot point and summarize the main body of action. Its all about rhythm.
A new experience
The treatment I worked on a while back is now out in the world, trying to meet some moneyed friends that might turn it into a fully fledged film. The director and me started out - modestly - by contacting smaller production companies, that we were somehow connected to. You know, just to have a chance of getting the treatment read within a foreseeable future. And also reasonable because, even though it is an action-comedy, we have tried to keep the budget down. No big explosions. Only expensive thing is many locations as the story is one long chase in Athens and surroundings.
Our local Greek companies have been abysmal in their response. Like, not even reading the damn thing. Nothing new there. But then things looked a little more promising with a small English producer and a Danish one. They read our synopsis and agreed to have a look at the treatment. Eventually, they both passed. But not for a reason I have experienced before. They were both enthusiastic about the treatment. The English producer called it near-perfect (to my amusement, as I have a lot of things I want to improve). They both went to great length in giving a response. And they both passed on the project because they felt it was too big for them. They were afraid they couldn't handle this type of film as it deserved. We should approach a bigger player - and they delivered the contacts for that. So now the treatment is being read by two major European production companies. And we are moving into a league where neither of us, the director and I, have set foot before. But I feel ready. More than ready.
Our local Greek companies have been abysmal in their response. Like, not even reading the damn thing. Nothing new there. But then things looked a little more promising with a small English producer and a Danish one. They read our synopsis and agreed to have a look at the treatment. Eventually, they both passed. But not for a reason I have experienced before. They were both enthusiastic about the treatment. The English producer called it near-perfect (to my amusement, as I have a lot of things I want to improve). They both went to great length in giving a response. And they both passed on the project because they felt it was too big for them. They were afraid they couldn't handle this type of film as it deserved. We should approach a bigger player - and they delivered the contacts for that. So now the treatment is being read by two major European production companies. And we are moving into a league where neither of us, the director and I, have set foot before. But I feel ready. More than ready.
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