When you’re a writer, you may be the architect, but the director runs the entire construction site. A beautiful design is critical, but ultimately, people want a building. Maintaining a mutually beneficial relationship with the director may be your most important job after writing the script itself.
Most directors have a singular vision of their latest project, but our esteemed panel will turn their attention to one relationship instead: the relationship with their writers. Get an all-too-rare examination of a writer’s pre-production, on-set, and post-production role viewed from outside the writer’s head.
Our panel of professional directors from both film and TV, including Jonathan Newman (Mariah Mundi and the Midas Box) and John Strickland (Line of Duty) will discuss…
- The characteristics of the most fruitful director/writer relationships.
- Are the writer & director collaborators, or boss & employee?
- The best writing techniques to spark the imagination of a director.
- Navigating the on-set power and political dynamics.
- Finding the right director for you and your project – where do you start and is it always ‘by the book’ (i.e. via agent/manager) or is ‘unsolicited’ just a suggestion or a tactic you can use to your advantage?
The story may be yours, the characters sprung from your mind. The themes might come from your heart. But in the end, if you want any input at all in the look, feel, and structure of your project, your involvement can’t end when you’ve FADED TO BLACK. You might get the final word on the page, but in this session you will you will learn the best way to exert your influence on the screen as well.
Appearing in this session
Credits include: The Dare, World of Darkness
Credits include: Line of Duty, Prime Suspect 2, Clocking Off
Credits include: Casualty, Holby City
Credits include: Swinging With The Finkels, Foster, Mariah Mundi and the Midas Box