Cannes 2023: what you should know before you go

As I'm writing this, the countdown for Cannes 2023 is on. People are making their plans, hoping to make the connections that will push their project forward. If you are thinking of attending, take a few moments to work out what you want to achieve and how to actually achieve it. 

A few things to remember and a few things to do:

• Remember that the Cannes festival is mostly a trade fair for producers, distributors and financiers. Scriptwriters do attend, but not much is done for them. The exception is the French organisation Maison des Scénaristes (Writers' House) which organises interviews, get-togethers and offers a place to meet. All languages are welcome.
• Set your priorities: do you want to meet producers, find co-producers, meet talent or announce an upcoming movie or career change?
• Are you looking for local contacts or do you want to reach out to other countries? Most European movies are international co-productions. This expands your possibilities.
• Draw up a list of people you want to reach out to. You'll find most of them in the Film Market database and/or Cinando.
• Work that pitch until you can give 3-, 5 and 7 minute versions comfortably. Practice on everyone you know. 
• Start sending those e-mails, and personalise them.
• Check if your country is hosting a pavilion and if you can register there (handy for meetings).
• If you manage to get a meeting, keep it short and punchy - these people are busy and appreciate people that get to the point. 
• Remember that it is extremely unlikely that you will get a firm commitment at Cannes. What you are aiming to achieve is the permission to get back to the producers or directors after Cannes. 
• Fill every free moment by attending interviews, workshops, presentations, etc. It's tempting, but skip actual screenings. They take a lot of time and it's unlikely that you will meet the right people there. Plus, you can catch them at home later anyway.
• Don't give up! If things are going badly, you'll have time to moan later at home. Go check another reception or happy hour on the German pavilion - just don't drink too much.

Further resources: 

• Should I pay to access the Cannes Film Market?
• The Cannes Starter Guide (full e-book)

Screening your short movie in Cannes: what's the deal?

How to screen a short movie in Cannes

There are lots of events for short movies in Cannes. But every year someone decides they want to organise their own screening outside of the Short Film Corner. But before talking about how you might do this, you have to consider why. There is practically no real market for short movies as a separate entity. So the monetary returns are negligible at best. If you want to go through the expense and work of organizing a screening at the busiest market in the world, first be sure you know what outcome you want. The only one I am comfortable with is the goal of getting people interested in you and your next movie project. So make sure you have a great next project up your sleeve.

2 scriptwriting events in Berlin

Quick news about two scriptwritng events in Berlin over the next few days: 

 
The "Short form" seminar with Thomas Frick places the emphasis on short films and commercials. In an information event , you will learn about our Full-time programs from August 2014.

The workshop will deal mostly with the basics of the screenwriting craft and the dramaturgy of short narrative structures such as commercials and short films. Parallel to the mediation of the theoretical foundations, each participant will develop his or her own, reference-enabled script in practical writing and film exercise.

New: The short form
Instructor: Thomas Frick
27-29/06/14 - Friday from 19: 00 to 21:30 - Saturday from 10 am to 6 pm - Sunday from 10.00 to 16.00
Price €249
Berlin


INVITATION TO THE EVENT INFO!
Training for authors of film & TV
The dramaturge and lecturer training
Writing for daily SOAPs & telenovelas

 If you are interested in participating in a full-time film / TV Academy programmes of the master school from August 2014, an information event is being held on Monday, the 30/06/14 at 6 pm in the seminar room master school film / TV Academy, Zossener str 41, 10961 Berlin: 

 
You can get to know the organisers personally during a question session.

The full-time programmes are based on three pillars:
1. the comprehensive mediation of the dramaturgical know-how teachers experienced over 10 years of practice
2. own material development of participants with individual advice by the instructors
3. a strong and honest market reference by working with production companies, additional industry guests, the pitching the finished script.

To participate in the information event, send a message to info@film-tv-autor.de .

Formore information about script training in Berlin, visit Master Schül Drehbuch. 

Roger Corman: titles as pitches

To tie in with a horror exhibition at the EMP Museum in Seattle, horror maestro Roger Corman gave some background into the success of "Dinocroc" and the ludicrous "Sharktapus". Bad news for all of us scriptwriters that sweat over spec scripts for five years: all these films came from brainstorming sessions around titles! The rest was filled in by the team.

I've sat in on these sort of projects and nearly got a horror story set in Pyrenees going because of one. Before you rush around saying, "I could do that", remember that in these cases it's not what is being said that makes the difference, it's who is saying it and to whom!

PS: if anyone is interested in a low-budget slash movie set in the Pyrenees or Europe's first car tuning movie, you know who to contact.

BAFTA screenwriting resource

It's always fun to see who did or didn't win the best screenwriting awards - and 2011 had some cracking good scripts. But time spent on the Bafta site turned up another gem: BAFTA screenwriters On Screenwriting. Six leading screenwriters (Simon Beaufoy, Aline Brosh McKenna, Christopher Hampton CBE, Sir David Hare, Ronald Harwood CBE and Peter Morgan) with credits including "Atonement", "The Devil wears Prada", "Frost/Nixon" and "Slumdog Millionaire" give their opinion on the craft, the films they have written and their career so far.

Visit it here.

I can't knock the awards for "The King's Speech" (original) and "Social Network" (adapted). Try and find both and read them. An education in itself.

"Sophie Scholl" writer to act as ScriptEast creative advisor

German scriptwriter and author Fred Breinersdorfer, who wrote the Oscar-nominated “Sophie Scholl” is will participate in the 5th edition of ScripTeast as a Creative Advisor. Over 7 days of the workshop in Sterdyn, Poland, he will discuss the scripts submitted by the participating screenwriters at one-on-one meetings.

Educated as a lawyer and writer, Breinersdorfer wrote 12 novels and numerous theatre and radio plays before becoming a screenwriter. He’s an author of 65 screenplays, many of which were internationally recognized and awarded, including the German Film Award and Adolph Grimme Preis mit Gold - called “German Oscar”.

Breinersdorfer gained international acknowledgement as the author of "Sophie Scholl” - the shocking portrayal of one of the legendary fighters of the Nazi regime in Germany. The film was nominated to the Oscar and received 16 international awards, including two Silver Bears in Berlin - Julia Jentsch for The Best Actress and Marc Rothemund for the Best Director and the Prize of the Ecumenical Jury. International recognition of the film is a double success for Breinersdorfer, who was not its screenwriter, but also the co-producer. Breinersdorfer is a member of the German film Academy. He was the President of the German Writers Association and ran for the German parliament.

ScripTeast is a training program for existing scripts from Central and Eastern Europe. One-on-one meetings with international professionals in different creative disciplines allow the authors to sharpen their objectives for the story and determine the best way to tell it. For details, visit ScripTeast.

Tales from the script

I just came across this tasty trailer on Twitter (don't forget to follow Cannes or Bust for movie and music biz news). Shane Black ("Lethal Weapon"), John Carpenter ("Halloween"), Frank Darabont ("The Shawshank Redemption"), William Goldman ("The Princess Bride"), Paul Schrader ("Taxi Driver"), and dozens of other Hollywood screenwriters share hilarious anecdotes and penetrating insights in Peter Hansons "Tales from the Script," which is billed as "the most comprehensive documentary ever made about screenwriting". By analyzing their triumphs and recalling their failures, the participants explain how successful writers develop the skills necessary for toughing out careers in one of the world's most competitive industries.

I don't know when it will be released, nor where.

Mark Burton (Madagascar, Wallace & Gromit) to talk in Brussels

Last minute: The Belgian writers group ASA has invited scriptwriter Mark Burton to talk about his work on "Madagascar" on February 11 in Brussels. A screening of "Madagascar" at 1pm will be followed by a lengthy discussion about the characters and structure. Burton also wrote "Wallace & Gromit - The Curse of the Were-Rabbit" and dialogues for "Chicken Run".

Sounds like a fantastic opportunity to me.

Date Feb 11 from 1pm. Maison des Auteurs, Rue du Prince Royal 87, 1050 Brussels

€20 for students and members of the ASA and Scenaristengilde, €40 for non-members. Bookings (obligatory): newsletter@associationscenaristes.be

Avatar: which lesson for the industry?

Lots of people are coming to conclusions about "Avatar", and what it teaches us. Having seen it "flat", I can already understand that it is a huge hit as it delivers great entertainment. For me, I think the 3D and Imax versions are icing on the cake. In a good analysis, Mike Goodridge of "Screen International" quotes LOTR's Peter Jackson: “It’s not about technology,” he insists. “It’s about entertainment and stories.” Goodridge continues:

And he is right. The best stories will continue to attract talent to make them and audiences to see them. It sounds clichéd to say it all starts with the script, but perhaps that has never been so relevant as now. Avatar, after all, is a good story rich with detail and flourishes from Cameron’s imagination. The audience has responded.

This is both comforting for writers and a challenge. I personally know no-one that would have spent time writing an Avatar-type story - starting with me. Too much like Pocahontas, too mass market, characters that are just on the wrong side of corny; yet Cameron pulled it off very well. It's easy to get distracted by discussions about the budget. "Avatar" connects on a more basic level. And if it really is all about the script, it is up to us writers to write scripts that connect with larger audiences.

Kathyrn Bigelow and Mark Boal in London

Kathryn Bigelow's "The Hurt Locker" is picking up pretty breathless reviews. She'll be in London with her screenwriter Mark Boal to talk about it, courtesy of The Script Factory and The Screen on the Green.

A preview plus conversation with Kathryn Bigelow & screenwriter Mark Boal August 18
Screen on the Green
83 Upper Street
London N1 0NP

Details at The Script Factory.

12th international scriptwriters festival in France

The French town of Bourges will host the 12th International Scriptwriters festival, between March 25 and 29. The event is popular, featuring round tables, a writing competition, workshops (with a focus on writing for TV), audience-friendly events that include the analysis of popular films and events around animation and documentaries. All events are in French.

Find more details here.

Slumdog Millionaire: the writer's review

If you haven't seen "Slumdog Millionaire" yet, I can but join the people recommending that you do so. It is very much the film of the season, matching only "Gomorra" in terms of intensity and scope.

The film is based on Vikas Swarup's book "Q&A", adapted by Simon Beaufoy (the writer of "The Full Monty"). As The Script Factory points out, the movie is an absolute masterclass in the use of the flashback. Trevor Johnston has posted a review of the movie on their site. But do yourself a favour, only read the review after seeing the movie.

Meanwhile, the shooting script has been published with notes from Danny Boyle and an intro from Beaufoy. The book is interesting as there are some minor differences between the script and the final edit.

William Friedkin masterclass in London

You might have to move fast on this one. William Friedkin is the writer/director/producer of landmark films such as "The French Connection" and "The Exorcist", both of which redefined their genres and provoked considerable outrage at the time. Since then, he has also produced "Cruising" and "To Live and Die in L.A." and is now active in TV and opera.

In an event organised by The Script Factory, he will be interviewed live by Mark Kermode following a screening of "The French Connection" on October 21 at 8pm at the Screen on the Green in Islington, London. Tickets priced £10 are on sale from Screen on The Green box office on 08700 664777.

UK's Screenwriter Magazine becomes 12 Point.com

Screenwriter Magazine, perhaps the leading screenwriting magazine in Europe (with France's la Gazette des Scénaristes) is entering the digital age as TwelvePoint.com. From July 1, the magazine has become an online site and is (alas) no longer being printed. The new site will include the articles produced by Screenwriter, as well as all the bells and whistles you would expect of a website. This includes tips and an "ask the agent" section for subscribers as well as the inevitable forum.

If you move fast, you can pick up a free 10-day subscription. Check the site here.

Jaco Van Dormael to talk in Brussels

One of the most promising writer/directors in Europe some ten years ago was Jaco Van Dormael, who made a huge splash with "Toto le héros" in 1991, followed by "Le huitième jour" in 1996. Rumours about his upcoming "Mr Nobody" have been extravagent to say the least, saying it covers "time" and is the most expensive Belgian film ever made.

This Tuesday June 10 he will put the rumours to rest or confirm them when he talks to the French-speaking Belgian writier's group ASA in Brussels.

For details, visit ASA.

Jaco Van Dormael on Amazon UK

Gazette des Scénaristes: new issue

I have been writing here less as I have been writing more elsewhere. I'll be attending Cannes again with two projects in development: "Protag", a dark contemporary thriller for the YouTube generation, and "Tunerz", probably Europe's first movie about the tuning scene. So I'll be posting less as the deadline approaches and the pitches, treatments and cover letters are reworked.

The only news I have now is that the new issue of France's quarterly Gazette des Scénaristes is out. The Gazette is one of the best scriptwriter magazines. This issue looks at the future of scriptwriters (pretty bleak unless some heads are knocked together), has an open letter to "those who develop, finance and show films without scripts" (a blast at the ultra-auteur syndrome that is strangling European cinema) and a very big question: should we write like Americans?

I haven't read that article, but I already know what most people's answers will most likely be in Europe.

The Gazette can be bought by mail at Dixit.

Terry George premiere and masterclass in Belfast

Oscar-nominated writer and director (and who has excelled in both roles) Terry George will premiere his new film "Reservation Road" at the 8th Belfast Film Festival and will also run one of the masterclasses at the event. George is best known for "In the Name of the Father" and "Hotel Rwanda". His masterclass on April 11 will "examine the similarities and differences in writing for TV, Film and the internet, the art of characterization and the subjects of plot, structure and dialogue". He will also take part in a Q&A session after his film's projection.

For more details, visit the Belfast Film Festival site.

Script courses and co-production in Belgium

Although it is not known as a source of overtly commercial cinema, Belgium does have a unique position by being bilingual (French/Dutch) and reliant on international co-productions to get those stories told. So it has always had an international perspective. The overwhelming majority of movies are released in their mother tongue with subtitles for example.

The French-speaking writers' group ASA (of which I am a member) have three events coming up. On Tuesday January 15, writer and script doctor Luc Janssens will be taking a bold look at the role of scripts, connections with the audience, what constitutes a "good" character and other questions using "African Queen" as a basis.

I suspect this will be a condensed version of a longer cycle he will be running on the five Saturdays between February 2 and March 1.

On January 26 he will be using his script for the cartoon "Asterix et les Vikings" as the basis for a discussion. Janssens is a vastly experienced and practical writer/teacher. So these promise to be interesting events. Details on the ASA site.

Meanwhile, Media Desk is organising a round table for Belgian and UK producers that are looking for partners on February 28 in Brussels. Details from Jeanne Brunfaut on 00/32/(0)2/413 22 71 in Brussels or Media Desk UK.

The Coppola syndrome: could it happen to you?

You've probably heard by now the Francis Ford Coppola has had his portable computer and back-up stolen. He has made a heartfelt plea for at least the back-up to be returned, as it contains not only his latest script which is about to go into pre-production, but 15 years of archives.

Yikes! It made me think about my current set-up. How much could I afford to lose? The vast majority of semi-cooked ideas exist in print form. That's OK. I still have copybooks full of notes and press clippings. So what about my back-ups? Well, like many people I don't do enough of them. And the problem that Francis Ford has suffered is that he didn't count on someone actually stealing the backed-up hard disks!

Any way around this? A quick survey of writer friends drew everything from shrugs of shoulders to stern warnings about making copies and storing them in friends' houses in case your place burns down or Mossad breaks in and steals everything. Online storage doesn't really seem to have entered the writers' habits yet.

Either way, it's something worth thinking about. Do you have any back-up tips?

"Le spectateur fantasmé": writers consider the spectator

Anyone who writes must at some stage has wondered about the possible spectator. But who is this spectator? What do we know about her? Should we accommodate her already at the writing stage and, if so, how? To what degree?

For the 6th time, the SACD France and SACD Belgium are hosting a talk at this year's Festival de Film Francophone in Namur, Belgium on October 1. The talk is split into two sections: a morning debate between the various guests and a later public encounter in the festival marquee.

Details can be found on the FIFF site. The Namur festival is a cool event, as the whole town is taken over during the week, and they host numerous workshops and production forums. There are also a host of premières, which this year include 14 films from as far apart as Senegal and Lebanon.

PS: I'll be in Namur on October 4 if anyone wants to hook up, just leave a message.