NEVER AFRAID TO TRY NEW THINGS; A Backdoor pilot

After spending the afternoon with Hennie discussing what our platform options we have decided 'If I Was King' would be better suited on BBC Three after doing a lot of research on their web site it was clear it was the perfect home for 'If I Was King'

BBC Three priorities;

BBC Three is a mixed genre channel for young audiences.

We have three key priorities:

• The channel needs to be disciplined about focusing on the young - its centre of gravity will be 16-34 year-olds: people who are young in spirit and mindset.
• BBC Three is ‘Never Afraid to Try New Things’ and that’s why we will continue to innovate with breakthrough comedy, stand-out entertainment, brave documentary and intelligent factual formats. Our content needs to have potential to innovate across platforms.
• BBC Three should provide an environment for the development of new ideas and talent and for existing talent to take risks, becoming a genuine laboratory for BBC One and BBC Two.

I have also decided that 'If I Was King' will be made into a backdoor pilot. A backdoor pilot is defined by variety as a "pilot episode filmed as a standalone movie so it can be broadcast if not picked up as a series. It is distinguished from a simple pilot in that it has a dual purpose: It has an inherent commercial value of its own while also providing proof that the concept of the show, could be made into a series and is worth bankrolling.

'If I Was King' May read as a one off stand alone episode but in fact it is a teaser of the whole series, with the idea of the battle for the managers position running for the whole series.

Writing research

Doing more research this weekend on comedy writing i started looking up my favourite writers who are  all of these people have inspired me and they are the reason I want to be a comedy writer.

 James Cordon & Ruth Jones; Gavin & Stacey

Larry David; Seinfild and Curb Your Enthusiasm 

 Damon Beesley and Iain Morris; The Inbetweeners

Ricky Gervais & Stephen Merchant; The Office, Extras and Life's Too Short                                                       John Sullivan; Only Fools and Horses
& Citizen Smith







                                                           










Jack Whitehall; Bad Education





When researching I found this interesting interview with the writer of Seinfield and Curb Your Enthusiasm. Talking about how he's written differently for different series of Curb Your Enthusiasm. I found it interesting that the first series of 'Curb' was written so that each episode was independent and stood by its self without a story arc and as the series when on he started adding in story arcs.

Auditions

Today my producer Hennie and I met at the studios to sort out what part of the script we wanted to use for each character for the audition piece. this was an easy task as we had already discussed what the stand out scenes would be. We then made a list of actor that will be coming in for auditions next week. I was surprised to see a larger number of girls apply for the roles of Victoria and Sophie. I found when doing 'Toerags' this was the complete opposite, we really struggled to get many females interest for the roles of Emma and Liz but it all worked out right at the last minute so I'm hoping we have a late flood of men apply for 'If I Was King' as we only have a few males at present.

Directing

After researching in to what kind of style I want for 'If I Was King' I have decided that I just want to keep it simple as far as camera shots are concerned, I am more than happy with "classic coverage" using wide shots, mid shots and close ups. It's my characters I want to do the talking and making the performances as effective as possible. Telling the story is the most important thing and that is what people engage themselves with. I'm a big believer in telling stories through the camera but I do not believe that any fancy film shots that would make film reviewers stand up and applaud would be justified in 'If I Was King'.

But as I am yet to get a D.O.P maybe they may offer something else to the table that may change my mind.....But I very much doubt it.

Director's statment

So this weekend I have been doing a lot of research into director's statements. I have been searching for directors in the comedy drama genre and I cant find any. It seems that directors statements only really apply for feature films and as I am not doing a feature film I am wondering if there is any point in me writing one when I could be putting my time to better use??

Script feedback.

Today I got my script feedback form Simon for my comedy drama 'If I was King' there was a lot of feedback! Simon thought that it lacked detail and a sense for the surroundings. I feel this was fair as in some parts of the script I ignored detail and focused on just getting the story down I feel I know where details need to be added but I was probably being lazy with it and concentrating more on getting the story down. Simon feels that the script is dialog heavy. I agree there are some bits that could be cut down but on the whole I disagree. As it is a comedy drama in the research I have carried out I have found that its your characters where you get the comedy and drama from you need to let your characters have a voice, allow them to breath. Simon Nye is an English comic television writer was once quoted for saying. "I don't do mad, plot-driven farragoes. You have to allow your characters time to talk"


My original idea was for If I was King to be a pilot episode. The idea was to write a 30 min script with the idea of being able to stretch the pilot idea over a 6 episode series, but I don't know if that's what commissioners want from a pilot, my research is ongoing. Also I have been looking for other platforms where it could sit as the majority of comedy festivals are 5-10min films. but my research is still on going.  
So not all is lost. As I knew there was still a lot of work to be done to my script but I am pleased with my first draft and reading up on the British Comedy Guide web site it says 


' The best tip is "don’t get it right – get it written!". Once the basics are on paper it is then much easier to polish things up. Remember: nothing in the world can take the place of perseverance. The slogan “press on” has solved and always will solve the problems of the human race. After all it won’t write itself!

Your aim should be to end up with a draft that is solid for character, plot and situation - it doesn't have to be perfect before you send it off, after all, any script can be made funnier. If the commissioner can't see the idea from a decent early draft... well... perhaps he ought not!'

So all in all I feel I'm in a good place.

Final major project idea.

So I've decided on on my final major project  as well as co writing 'Love Always' I have decided on writing my own 30 minute comedy drama pilot called 'If I was King'

If I was king; Jamie a Young professional in his mid 20's has a good job in an office that are looking internally for  a new manager. The position is the talk of the office with Jamie rumored to be one of the front runners as well as Stef a mid 20's posh ex public school boy living off mummy and daddy's fortune. Jaime never misses an opportunity to wind up the the posh gulable twit. Jamie has an eye for Sophie who is in her mid 20's a sweet, caring "girl next door" The feeling is mutual as they spend a lot of time flirting. Jamie is faced with a predicament when he is called into the manager Victoria's office she is a hard ice queen no nonsense business woman in her late 30's early 40's. She blackmails Jaime by telling him all he needs to do to get the job is sleep with her. Jamie is in two minds. Should he sleep with Victoria and get the job would he ever forgive himself for letting his morals slip and risk messing things up with Sophie if she ever found out. Jamie confides in his best friend Gary a working class builder in his late 20's Gary is loud and obnoxious and full of crud jokes and is always giving Jamie bad advice.

As my original idea for this project was very much character based I decided that it would be a great idea to give all the characters completely different back grounds from all walks of life.



Jamie; the main character, the protaganist. He is a from a middle class background, good looking stylish man in his mid 20's. He has a good job and is ambitious with a good heart, he is always trying to do the right thing by people and has good high morals.

Sophie; is a kind, sweet, pretty girl in her mid 20's. She is seen as the office sweetheart and has a real thing for Jamie.She is very ambitious and so when the chance for a promotion comes up she is very excited but when she realises she will be up against Steff and Jamie she becomes disheartened and begins to dowt herself.

Steff; is a posh, ex public school boy. A colleague of Jamie's who is also in his mid 20's. He is very annoying but totally harmless and very loveable.

Gary; is Jaime's best friend and is always there to dish out advice. He is a crude working class builder in his late 20's. Even though he is very smutty he is a loveable character and is very funny. He lives at home with his wife Jackie in their family home.

Victoria; is Jamie's boss. She is a smart attractive, hard working executive women in her late 30's. She is very powerful and vindictive like an ice queen.

I have asked Hennie Clough and Casey Parker to come on as producers. As well as the writer I am still undersided as to what other role to take.

I have also written an original score for the pilot with my friend Glenn

A writing buddy

To get the ball rolling over the summer Maddie, Hennie, Dan and I all got together to discuss our ideas and to see if we could help each other out.

Dan asked Maddie and I if we would be interested in co writing his world war 2 drama. One of the many reason that I came to uni was in hope of finding a writing partner and so far I have always written alone and although I see myself as a comedy writer I thought this project could only give me another string for my bow and finally get the chance to write with another writer. I enjoy Maddie's 'The Suitcase Kid' and I really like her new script 'Totally Masey' but as we both "specialize" I totally different genre's we knew it would be hard work and a lot of research was needed. It wasn't going to be a case of simply watching 'Shindlers List' 

Once Dan gave us the initial idea we sat down and worked out characters and the plot. We thought we would come up with the main plot point and then research further into the history of the war for little but important details.

The four main character are:

• Mary (Protagonist)
• Arthur (Mary's lover who was serving in RAF)
• Alice (Mary's next door neighbour /best friend)
• Frank (The village postman and Mary's new love interest)

Our first basic plot points we wanted to include:

• Mary and Arthur are writing back and forth to each other, while Arthur is fighting in the war. Mary is living at home, has a full time factory job and looks after her brother Johnny, with the help of her neighbour (Alice) due to the passing of both of her parents.
• The postman Frank, takes a shine to Mary and becomes more and more infatuated with Mary after each meeting.
• He begins to hide and intercept each letter between Mary and Arthur, fooling Mary into believing Arthur is dead/forgotten about her.
• Frank then begins to take on Arthurs' role in Mary's life by fixing things round the house and comforting her.
• They then begin falling in love, with Mary heartbroken and vulnerable.
• In a twist of events she finds all the letters Frank has been hiding and is distraught and guilty.
• Arthur comes home and Frank is shunned  by everyone.

After these basic plot lines, these initial questions were raised:

1. What sort of plane would Arthur be in? More research about his job.
2. Why is Frank not at war, what reasons did men not fight?
3. What job would Mary have living in the countryside?
4. What year would this be set? When were the RAF fighters in Africa?

So far I have found writing with Maddie very easy I think we both complement each others styles. Maddie is someone I'd like to work with writing after this project.