Content :

The Inbetweeners

Pushing Daisies

Once

Battlestar Galactica

Chuck

Preaching to the converged

White Girl

Terminator: Sarah Connor Chronicles

Be Kind, Rewind

Michael Clayton

No Country For Old Men

Mad Men

Journeyman

2007 on the big screen and small

Top 25 Time Travel Stories

The Rules of Seduction

The Nines

National Novel Writing Month

Portrait of Jennie

Red Planet Prize

Dexter

Screenwriting matters

The secret history of British film

Californication

Agents

Superbad v the feMANists

Atonement

Paul Laverty

My weekend with the podcasters

Edinburgh Film Festival 2007

A bummer of a summer of British film?

Wouldn't you just die without Mahler

The great British screenplay

Seinfeld

Steps back in amazement

Cheltenham Screenwriters' Festival

28 Pirates Later

How to arrive late and leave early

Blog off and leave me alone

Screenwriter : comic reader

The 50 Greatest TV Dramas

Spiderman 3

The Holiday

Perfume

Porn: The Second Coming

The Innocents

Battlestar Galactica

My highlights and low lights of a moviegoing 2006

The Queen

Pan's Labyrinth

Casino Royale

Little Children

My fave screenwriting podcasts

Random thoughts about character

Trouble in paradigm

Children of Men

Lost on Broad Street: Diary of a Multi-Strand Collaboration [External link]

Dramatica: the DNA of story?

Writing partners

EAVE: uni for film producers

Writing for Hollyoaks

The loneliness of the long-distance copywriter

Access issues for theatre writers

 

Never give a Brit film an even break...


children of menI was walking out of the cinema last week, having just experienced Children of Men (written by Hawk Ostby, Mark Fergus, David Arata and Timothy J Sexton... oh and Alfonso Cuaron is down as a writer but he probably just requested a few changes and made the real writers do the work).

My cinemate and I got to talking. First off, is it a British movie? It's set in Britain, it's about Britain and most of the talent in it is British, but it's got that Universal logo at the start and the director's Mexican.

We agreed that we liked the movie and thought it pretty damned good, but suddenly my mate says `But is it a really good British movie or a pretty good American movie?'

So many questions popped up in my head simultaneously that I didn't have an answer for him.

Do we in Britain make allowances for our films and judge them on a totally different set of criteria to films from other countries (like our academically challenged kids who don't come top of the class but try their best)?

Are we accepting mediocrity that we wouldn't accept from other film industries?

Or do we do the opposite - never give a Brit film an even break because it's not as glamorous as an American film or doesn't have subtitles and therefore cannot be meaningful or arty?

And what do American screenwriters think of our movies? Do you even consider our film industry a viable outlet for your talents?