"Kings" chosen as Ireland's "Best Foreign Language" at Academy Awards

IFTA, The Irish Film and Television Academy has announced that Tom Collins’ ‘Kings’ starring Colm Meaney, Donal O’Kelly and Brendan Conroy has been officially selected by an independent IFTA jury for submission to the 80th Academy Award(S)®, for the ‘Best Foreign Language Film’ category. This is the first time that an Irish language film is being submitted from Ireland for this category.

"Kings" tells the story of a group of Gaelic-speaking young men who in the mid 1970s left the west of Ireland, bound for London, filled with ambition for a better life in a place where they could be kings. Thirty years on they meet to mark the passing of the youngest of the group. For some of them, those thirty years have been hard. Their muscle has been spent, their hopes dashed on the roads and building sites of Britain, to be replaced with a sense of hopeless disaffection. ‘Kings’ is a story of a lost generation, rich in humanity and emotion, and with a heart-breaking resonance not just for the Irish in today’s changing world.

According to director Tom Collins, "‘Kings’ has been a remarkable journey for me over the past four years. To receive this latest accolade is quite overwhelming and I am indebted to the Irish Academy for their support. I know it’s always dangerous to have messages in films, but I hope people will watch ‘Kings’ and empathise with the whole experience of emigrants in a foreign land and how hard it is for them to find their way home. This is a universal story – it’s not just about paddies…” Specifically concerning the relationship with the original play "Kings of the Kilburn High Road" and the playwright Jimmy Murphy (see below), Collins had this to say to Screenplay Europe: "I regard Jimmy as a friend and one of Ireland's best writers. Kings is doing exceptionally well which wouldn't have happened without [him]".

"Kings" was produced by Newgrange Pictures and goes on release in Ireland on September 21.

People's Choice Award 2007

The European Film Academy has made its nominations for this year's European Film Awards. As ever, it's a rather high-brow list that includes "4 Months, 3 Weeks and 2 Days", "The Edge of Heaven" and "La vie en rose".

As in previous years, you can do your bit too, as they are running a more mainstream selection for the People's Choice Award that includes "The Last King of Scotland", "La vie en Rose", "Black Book" and "2 Days in Paris". Check the selection here.

"4 months, 3 weeks and 2 days" to open in... Romania

After four months of travelling successfully around the world, the multi award-winning "4 months, 3 weeks and 2 days" is only now set to open in its home territory, Romania. The hard-hitting movie will open at the Bucharest National Theatre (that's one premiere I'd like to attend) before moving to other venues. There are also reports that the film will be shown outside major towns in mobile cinemas, a move which is interesting.

The reason I mention this is to underline the difficulty of coordinating movie releases in Europe. Although the 25 countries are technically a single market, only the major studios actually enable Europe-wide releases. All the countries act like separate markets. There are large distributors and movie chains such as UGC and Kinepolis, of course, but every movie has to find a local distributor and start individual campaigns that fit around the majors' releases.

Another way to look at this as writers is that although you always hope that you are writing something with global appeal, you are largely dealing with a series of local audiences. It's also interesting to note that many of the most successful European films have been intensely local. This has been true of "Billy Elliot", "Goodbye Lenin", "L'auberge espagnol", "Adam & Paul", "12:08 East of Bucharest" and now "4 Months".

For more about "4 Months...", visit the blog.

UPDATE: Nov 25. "4 Months..." was awarded the Bronze Horse for Best Film 2007 at this year's 10-day Stockholm film festival ending Sunday November 25.

Intro to scriptwriting in Manchester

Scriptwriting courses tend to be concentrated in capital cities. Here's one that's open to anyone in Manchester, UK. "Due to the success of our previous courses we are pleased to announce our next 6 week project at the Dance House, Oxford Road (opposite the BBC) starting on Monday 8th October 7.30pm - 9.30 pm.

The programme is an introduction to the basics of scriptwriting for screen and is open to anyone 18+ regardless of experience. The course is ongoing and the first 6 weeks will focus on formatting scripts, dialogue, character and developing plots. Writing can be a lonely task, these sessions give participants the chance to meet like minded people from all different walks of life and also fresh eyes and minds to bounce your ideas off. Previous participants have said the course has given them 'confidence about their ideas', 'created a portfolio of work' and has 'given me goals'."

On the face of it, this looks like an intro for people that have always wanted to but never got around to trying scriptwriting. The course is priced at just £35 for the 6 weeks. If you require any further information, e-mail primarycreations@yahoo.co.uk or call 07857 906 014 and tell them Screenplay Europe sent you.

"Atonement" to open Venice fest

Amongst the many films that will play at Venice this year, "Atonement" is being billed as the most expected. Directed by Joe Wright, it has a script by Christopher Hampton ("Dangerous Liaisons", "Total Eclipse" and the upcoming "Coco avant Chanel") based on the award-winning novel by Ian McEwan.

The World War II drama is Wright's second feature, although he has directed numerous dramas for British TV. Keira Knightley's role is being tipped as a career-defining performance. Wright had famously berated the Bafta voters for not giving her the best actress for "Pride and Prejudice".

See The Telegraph for an interview with Wright in which he talks about Knightley, budgets and filming Dunkirk.

Belgium: workshops and round table

French-speaking writers might be interested in two upcoming events in Belgium. Laurent Denis, an award-winning scriptwriter and producer with Cookies Films, is running a workshop focused on building characters and writing dialogue in August and September. Later workshops will cover an introduction to scriptwriting and writing a short film.

Check the details on Cinefilms.

A new event, Brussels Film Days, is to be held in the Wolubilis complex this September. In addition to avant-premières and open-air screenings, the writers association ASA will host a round table on the theme of the script and professional scriptwriting on September 13. Writers and directors will be present - although it doesn't say which ones. More details on the ASA site.

"Kings" showcased in L.A. and Dublin

The Screen Directors Guild of Ireland, in association with the Directors Guild of America, have announced the winner of the Directors Finders Series 2007 as "Kings" directed by Tom Collins, written by Collins and playwright Jimmy Murphy. "Kings" follows the story of a group of six young men who leave their homes in the West of Ireland in the mid 1970's to go to England in the hope of making their fortunes & returning home. Thirty years later only one makes it home - but does so in a coffin.

As part of the award, the film will be showcased in the state-of-the-art Director's Guild of America Theatre, Sunset Boulevard, L.A on 28th September 2007 to an audience of American distributors, with a view to securing a US distribution deal for the film. It will also be featured at a special Awards Ceremony hosted by director Jim Sheridan on 23rd August in Dublin in The Clarence Hotel, to precede the L.A Screening Event. This event is being filmed by TV3.

To find out more, visit the Irish Film Board.

Adapting from books: "The Pianist"

A great story is a great story, and will almost inevitably make its way to the screen. British scriptwriter Ronald Harwood made a magnificent job of writing the script for "The Pianist". As he explained in The Guardian, this was no accident. He had already covered war issues and totalitarian regimes (including his native South Africa), before being called by Roman Polanski to adapt the book. He maintains his closeness to the subject was important.

Harwood has now contributed to a book about adapting novels to the screen, "Ronald Harwood's Adaptations: From Other Works into Films: From Other Media into Films". He goes into "mouth-watering detail" (as one reviewer said) about what adaptations actually involve.

His article in The Guardian is already a treat, if a little unflattering for scriptwriters: "What conclusions, if any, are to be drawn from my experience in the movies? Certainly, I have learned that the screenwriter's relationship with the director is at the very heart of film-making, but the cult of the film director is now so pervasive that the screenwriter is mostly consigned to oblivion. If a critic admires the film the screenplay is ignored; if he finds fault, the screenplay comes in for a mauling. Thus, the screenwriter must learn that he is not an equal partner; indeed he is somewhat subservient."

For the full article, visit The Guardian.

Antonioni dies at 94

With the death of Bergman and French actor Michel Serrault, it has been a pretty sad week for movie-goers. Now Michelangelo Antonioni, the pioneering critic of post-war Italian society has died at the age of 94. Antonioni's first break came as a scriptwriter, working with directors such as Roberto Rossellini and Enrico Fulchignoni. His debut feature was "Cronaca di un amore/Story of a Love Affair" in 1950 although he didn't achieve true success until "L'avventura" ten years later.

His key films are without a doubt "Blow-Up" and "Professione: reporter/The Passenger". Although he suffered a stroke in 1985, he continued to film. His latest work was "Il filo pericoloso delle cose/The Dangerous Thread of Things" from the "Eros" trilogy.

Antonioni on Amazon US

Ingmar Bergman dies at 89

Ingmar Bergman, one of cinema's key figures, has died at the age of 89. The writer and director of dozens of films and plays died at his home in Faro, Sweden. Over his remarkable career, Bergman was nominated no less than nine times for Oscars as a director, with three of his films picking up best Foreign Film awards.

Bergman's filmography includes "Wild Strawberries", "The Seventh Seal" and "Cries and Whispers". His career started as a projectionist's assistant, later studying to be an actor and director. His first filmed work was the script for "Frenzy", directed by Alf Sjoberg in 1944. Over the coming years, he would chalk up strong critical and commercial success with his often harrowing movies.

His last public work was the TV fiction "Saraband". He once famously noted that he had difficulty watching his own films in retrospect as he found them "depressing". Given that many sprang from his own experience, this might be understandable to a degree although it hints to me that he never found closer on many of the issues.

For more about Bergman, visit Ingmar Bergman Face to Face.

Ingmar Bergman on Amazon US

Paul Laverty: the "spectacular lie"

Paul Laverty, the long-time writing partner of Ken Loach, has just been interviewed by the Santa Barbara Independent about scriptwriting and their choice of subject matter. The film "The Wind That Shakes the Barley" picked up the Palme d'or in Cannes last year. It takes an uncompromising look at the struggle for independence in Ireland and the subsequent Civil War. Although many people considered it as a metaphor for the Iraq war, Laverty denies this entirely. A far better parallel (which Laverty does not make) could be made with the Palestinian resistance to Israeli occupation, not just in terms of the direct brutality of occupation but also in terms of its effects on the resistors. The core story is, after all, about two brothers that have to face each other.

An interesting quote from the article: "Did you feel drawn to screenwriting because you felt you could reach a wider audience and bring more attention to issues that were important to you? Choosing the subject matter, the characters and premise to a story, and how we attempt to tell it reveals a great deal about the filmmakers. Our choice of material is of course affected by our values, politics, and how we see the world. It strikes me that a great many contemporary films glorify the pursuit of wealth, romanticize violence, and usually set up “Western values” as superior. It’s often simplistic and very crude; black and white. In the end, it makes for a spectacular lie about how Westerners see themselves. They lie to the rest of the world, too. I have zero interest or respect for this type of filmmaking, no matter where it comes from."

For the full article, visit Santa Barbara Independent.

Paul Laverty on Amazon US

Paul Laverty on Amazon UK

The danger of "the scene"

It's always exciting when a new scene is discovered in a country. Whether it be Taiwan, the UK, Czech Republic or Denmark, media and the industry just love to be able to bunch films together by style. The stark reality of Belgium and the kitchen sink dramas of the UK are just two examples. Over the past few years, Denmark has been the source of interesting films that manage to find commercial audiences. The figures for domestic films are remarkable: in the first six months of 2007, over 1.8 million tickets were sold - one half million more than the same time last year - and fully one-third of those were for Danish films.

But the inevitable downside of a scene is the almost irresistible temptation to apply a formula. An awful lot of money is involved, so why not hedge your bets by following previous successes? In an article in the Copenhagen Post, Claus Ladegaard of the Danish Film Institute, said the Danish industry was definitely in a crisis and may have rested too heavily on its earlier laurels. ‘We probably should have looked more critically at our own success a bit sooner,’ he said. ‘Often, as soon as someone discovers a particular way to make a film successful, others follow and then movies start resembling one another.’

It's a danger that exists already at the writing stage. All the writers with a few pages of sub-"Pulp Fiction" know what I'm talking about. But trying to second guess what producers and audiences will like is dangerous. The throughput time from paper to screen is so long that whatever trend was discernible will be totally outdated by the time it would take to write and shoot it.

For more about the Danish hangover, check the Copenhagen Post. For news about Danish film, visit the Danish Film Institute.

Louis Gardel: a scriptwriter controls nothing

Veteran scriptwriter Louis Gardel ("Indochine" and "Himalaya" as well as massive amounts of stories for French TV) gives a few sobering thoughts when explaining his work methods for the Cineuropa website: "I’ve understood very well that a scriptwriter controls nothing at all and that, for the result to be good, for the film to measure up to what I dreamt, someone “strong” has to do it. I’m very attentive to that".

Gosh man, do you have to say it so loud? Someone might hear you. He does, however, have a point. Scriptwriting is an in-betweeny thing to do, as the ultimate calls are taken by the director (in Europe) and the producer.

Now that I've given you the bad news, check out the whole article for some interesting insights on Cineuropa.

"California Dreamin'" sways Brussels

Cristian Nemescu's "California Dreamin'" (co-written with Tudor Voican) was the clear overall winner in the recent Brussels European Film Festival, picking up awards as Best Film, the Audience favourite and an award from TV channel Canvas. Producer Andrei Boncea picked up the awards in the absence of the director, who tragically died in a car accident during post-production. Another noted winner was Gabriel Range's "Death of a President".

The festival also runs a pitching competition, this time won by Spain's Susana Lopez Rubo for "You Can Change Your Life in Ten Seconds" and Belgium's Robert Scarpa for "Délocalisé".

for the full list of winners, visit the BEFF.

European fest to kick off in Brussels

Brussels 5th European Film festival will kick off on June 29, running until July 7. Belgium, like most European countries already has a busy line-up of film festivals. The Brussels event stands out by focussing on first or second features from European directors. Amongst those being shown this year are "The Art of Crying" by Peter Schonau Fog on a script by Bo Hansen, "Voleurs de chevaux/Horse Thieves" by Micha Wald on a script by Jean-Paul De Zaeytijd and "Does it Hurt (The First Balkan Dogma)" by Aneta Lesnikovska. Seven avant-premieres have been set up and Belgium's Cinémathèque will be showing some pearls from its vaults on the square facing the venue.

The festival will also be handing out an award in its second pitch contest. More details will follow closer to the day.

For full details in French, Dutch and English, visit European Film Festival.

UK's Screenwriter Festival posts programme

This year's Screenwriter Festival in Cheltenham, July 3-6, has an exciting programme that has been split into two broad sections. The two-day Rising Talent section will focus on issues of most interest to writers trying to break into the sector. Agent Julian Friedmann, Tony Jordon (writer of "Life on Mars"), reps from the BBC's Writers Room and William Nicholson ("Gladiator") are amongst the many speakers. The second "pro" section features a script market, Michael Goldernberg (the latest "Harry Potter"), a section on Spanish cinema and Simon Oakes, CEO of Hammer Films on the re-launch of the studios.

For more details, visit Screenwriter's Festival.

Cannes 2007: Script award for Fatih Akin

Already one of the darlings of Germany's new cinema, Fatih Akin has picked up the screenplay award at Cannes for "The Edge of Heaven/Auf der anderen seite/Yasamin kiyisinda" as well as picking up the award from the Ecumenical Jury. Why three titles? Because Fatih Akin is a German of Turkish descent who has taken another look at the lives of people affected by the two countries. His first film, "Head On", was already an uncompromising quest for identity. He followed it with "Crossing the Bridge", a commendable documentary about musicians in Istanbul. He says of the characters in "The Edge of Heaven", that "they reflect a part of me, something that changes every day, because I change my mind every day. And I was inspired by the people I met during my trip to Turkey for 'Crossing the Bridge', people who are trying to change the world with music. Activism and political passion can be very sexy."

For the full interview, see Cineuropa. For the official site of "The Edge of Heaven" (in Turkish).

"Grave Decisions" picks up German script award

Germany has just dished out its Lola awards for local movies. The country has been on an upward swing for 10 years, when "Run, Lola, Run" opened a series of remarkable movies including "Goodbye Lenin" and more recently "Downfall" and "Other People's Lives". Perhaps not coincidentally, the awards are called Lolas, and in the latest ceremony "Grave Decisions" picked up awards for the best direction (Marcus H . Rosenmueller) and best screenplay (Marcus H . Rosenmueller and Christian Lerch) as well as picking up a joint Silver Lola with "Perfume: The Story of a Murderer".

"Grave Decisions/Wer früher stirbt, ist länger tot" is a comedy produced by Roxy Film in Bavaria, following a young boy whose mother died at his birth. When he later realises this, he tries to find a new wife for his father. It works, except that the new love is already married.

Interestingly, this is a first feature for both Rosenmueller and Lerch (who is also a noted sound designer). Check the official site in German.

The full list of Lolas:

Best Film - Gold Lola:
Four Minutes by Chris Kraus

Best Film – Silver Lola:
Perfume: The Story of a Murderer by Tom Tykwer and Grave Decisions by Marcus H . Rosenmueller

Best Children's Film:
Hands Off Mississippi by Detlev Buck

Best Documentary Director:
Workingman's Death by Michael Glawogger

Best Actress:
Monica Bleibtreu (Four Minutes)

Best Actor:
Josef Bierbichler (Winter Journey)

Best Supporting Actress:
Hannah Herzsprung (Life Actually)

Best Supporting Actor:
Devid Striesow (The Counterfeiter)

Lifetime Achievement: Armin Mueller-Stahl

Best Director:
Marcus H . Rosenmueller (Grave Decisions)

Best Screenplay:
Christian Lerch, Marcus H. Rosenmueller (Grave Decisions)

Best Cinematography:
Frank Griebe (Perfume: The Story of a Murderer)

Best Editing:
Alexander Brenner (Perfume: The Story of a Murderer)

Best Production Design:
Uli Hanisch (Perfume: The Story of a Murderer)

Best Costume Design:
Pierre-Yves Gayraud (Perfume: The Story of a Murderer)

Best Score:
Gerd Baumann (Grave Decisions)

Best Sound Design:
Stefan Busch, Dirk Jacob, Michael Kranz, Frank Kruse, Matthias Lempert, Hanse Warns, Roland Winke (Perfume: The Story of a Murderer)

UK event investigates the "dark art" of script development

Script development is often the subject of debate in Europe, usually followed by the claim that there is not enough of it. But what does it entail? A UK event will look at what they call the "dark art" of script development. I quote: "Who are these people who have been granted the right to fiddle with our scripts? And what is the dark magic they practice? Great script development can free a potentially brilliant script from the snags that are holding it back but for many writers and directors it remains a frustrating enigma.

An evening of questions and answers with two of the most respected script executives in the country Dan MacRae and Sarah Golding. Don't think about writing another script until you've heard what they have to say.

Dan was formerly Deputy Head of the Development Fund at the UK Film Council and an Executive at Working Title. His credits include RED ROAD and the forthcoming ATONEMENT.

Sarah is currently Head of Development for Potboiler Productions and was previously Head of Development for Skreba Films, Development Manager at Zenith Productions and Script Consultant for Yorkshire Television and Fair Game Films. Her credits include THE CONSTANT GARDENER, DEEP WATER, BROTHERS OF THE HEAD and the forthcoming THE BEST TIME OF OUR LIVES".

Date: Wednesday 9th May
Time: Doors and bar open at 6.30pm, event from 7.30pm
Venue: Lighthouse, 28 Kensington Street, Brighton, BN1 4AJ
Cost: £5/£4 concs Lighthouse’s Digital Lounge. Spaces are limited. Reservations at info@lighthouse.org.uk.

European movie houses to award European movies at Cannes

I've always thought that the discussions about scriptwriting should be opened more towards other players in the chain. The people that run movie houses, for example, are never included. But at the end of the day, they are the ones that decide to run a movie and eventually decide to pull the plug!

So I was interested to learn that a network of European movie houses has been awarding prizes to European films at Cannes and other festivals for four years already. Once again, it will be awarding its Label prize to the best European film in the Directors’ Fortnight/Quinzaine des Réalisateurs section.

A jury of four Europa Cinemas exhibitors will award the Label at Cannes, with the winning film receiving the invaluable support of extended theatrical exposure and additional promotion from the Europa Cinemas network. Previous winners have included 12 :08 East of Bucharest / A Fost sau n-a fost?, Live and Become / Va, Vis et Deviens and more recently Spain's Camino de los ingleses/Summer Rain at the Berlinale. To find out more, click the logo above