PAUL SCHRADER
Screenwriters. On Screenwriting. The BAFTA Screenwriters’ Lecture Series in association with The J J Charitable Trust 23-25 November 2018
There is such mystery surrounding the craft of screenwriting, with so many different theories out there about how it’s done, that our industry has felt it necessary to nail down a few basic rules, the golden rules. But let me add a big caveat: if these rules were any good, then simply by following them you’d end up with a superb end product. The fact is this: these rules only work sometimes. A N T H O N Y M CC A R T E N S C R E E N W R I T E R SÕ L E C T U R E 2 017
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Welcome A very warm welcome to the ninth BAFTA International Screenwriters’ Lecture Series, in conjunction with The JJ Charitable Trust. Frank Capra once said, “screenwriting is the toughest part of the whole racket… the least understood and the least noticed”. From its inception in 2010, this series has set out to mitigate that misunderstanding by celebrating the world’s greatest screenwriters, whether auteurs or writers in collaboration. These lectures are neither a how-to workshop nor a faux-scientific deconstruction of screenwriting as a craft. They are a platform for world-class screenwriters to explore what it means to engage in this strange, protean art-before-art. Forget all the nonsense you hear about screenplays being mere blueprints for the finishedAfilm. great film exists without its ddreNo ss invisible alpha – the screenplay. process of screenwriting Phone The Num r may be bruising, the anecdotes aboutbecollaborative mash-ups legion, the genre-snobbery exhausting, but while alone with their screenplay, the writer (or the writer in the director) authors something into life with as much intensity and vision as any artist, whether comic, tragic or whatever else. This year we have a truly astounding line-up of lecturers. Turn the page to read their biographies, but by simply listing their names and credits, the point is made: without great screenplays, there is nothing. Our speakers this year are Ol Parker (The Best Exotic Marigold Hotel, Mamma Mia! Here We Go Again), Taika Waititi (Eagle vs Shark, Hunt for the Wilderpeople), Nicole Holefcener (Walking and Talking, The Land of Steady Habits), Alfonso Cuarón (Children of Men, Gravity), Nadine Labaki (Caramel, Capernaum) and Paul Schrader (Taxi Driver, Raging Bull). Feast on that!
Jeremy Brock Screenwriter and Founder of the Lecture Series Follow the conversation on @BAFTAGuru
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Deborah Moggach’s novel These Foolish Things
into ER cinematic beast The Best Exotic Marigold CENthe LE HOLOF Thesame Hotel (2011) Aand itsT sequel (2015), oreis. the LBER ainer Styou can ontJenny C e h t o person who turned Downham’s hearts , Yes, yeshat sells crap ou can go out y t o e wrenching book Before I Die into candid weepie s r o n t i s ur crap more crap. yoGood put Is Now ome And yet the author of these s(2012). and buy visual works is one and the same, rwriter and EVE e c ap. e. I lov sometime director orParker. tOl s t a h t I love
He first came to prominence for his controversial drama, Loved Up (1995), about the drug ecstasy, made for the BBC’s children’s anthology series Scene. This won him a BAFTA in 1996 with producer Elinor Day and director Peter Cattaneo. Then there were the six episodes of Grange Hill before he wrote BBC date rape drama In Your Dreams (1996), on which he met his future wife, actress Thandie Newton (they married two years later). Newton would feature in Parker’s next film, Brit comedy It Was an Accident (2000), alongside other young up-andcomers Chiwetel Ejiofor and Max Beesley.
A great idea isnÕt ever delivered to you whole, with all the elements in the right place. Great ideas are made by you. The germ of a great idea isnÕt a film until youÕve cracked the story; the internal engine of the story has to be made to work. A N T H O NY M CCA RT EN
Then came the first of three films he wrote and directed, Imagine Me & You (2005) – a romantic comedy with a three-way hetero-lesbian triste twist. It would be six years until his next film, The Best Exotic Marigold Hotel, but it would be worth the wait, earning him a BAFTA nomination at the 2013 Film Awards. It is perhaps the purest example of Parker’s lightness of touch with dialogue, deftly balancing affecting poignancy with sharp comedy. It’s evident in all his work – including the film’s sequel and the other two movies he’s written and directed, Now Is Good and Mamma Mia! Here We Go Again – but it’s at its most digestible here. No wonder the film broke the perceived wisdom about the ‘grey pound’, attracting audiences of all ages and earning more than £100m at the worldwide box office. Parker’s sequel to Mamma Mia! topped this, raking in more than £300m at the worldwide box office (£66m of which came from the UK alone). The feel-good blockbuster of this summer, the film carefully balanced cheerful comedy with heartfelt drama (and some irresistible music), without ever feeling presumptuous or supercilious towards its audience. tw
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The Screenwriters’ Lecture Series
Taika Waititi
Saturday 24 November, BAFTA 195 Piccadilly
For many, 2017’s Thor Ragnarok will be the first introduction to the gifted humour of Taika Waititi, who not only directed this uproarious entry in the Marvel-verse but also hilariously voiced the ‘pile of rocks’ alien, Korg. However, when that superhero blockbuster was first announced, there were many other film fans who were rejoicing that the enigmatic New Zealander was finally getting the worldwide mainstream attention he so richly deserves. After making a series of well-received shorts, including the Oscar-nominated Two Cars, One Night (2005), the multi-talented writer-directoractor penned his first feature-length film, indie hit Eagle vs Shark (2007), which starred Loren Taylor and Jermaine Clement. Waititi reunited with Clement on the latter’s wonderful Flight of the Conchords comedy series, writing two episodes and directing four. The pair went on to pen and star in the fabulous vamp-on-the-
remarkably well-written, fleshing out the major and minor characters so that they feel very real despiteR some zany antics. Waititi would follow OL PARKE Representation is very important and should ing rievan EVELYN e story are gwith this with another coming-of-age iend w knew so little? r f be taken seriously. You have to do it in a very r u o we s itHuntseforli we are fe Wilderpeople authentic Itone. the that(2016) responsible and respectful way. IÕve been for, whot our own loss veled far was a hit internationally, earning a multitude of ears a i r t s e Or i fortunate enough over the years that through ? Have wcan allow our t ningnominations, festival awards including five mourand e w t a gh th the pre-production stage, when I approach enounominations, Empire Awards among them nods to fall? communities saying, ÔI want to make a film for Waititi’s writing and Mdirecting. Thisu and Boy k about DGE A about this community or this neighbourhood yo thin want to dies,New t e ' n n o are the top two most successful Zealand o e d m o When s n life. And I ant to be or this subculture,Õ IÕve found people who w country, t w topping r othe films released don'both youin want their stories told. IÕm simply the amplifier older. I to. To become y w o r g d $9.3m (NZD).ndescende red b co of the voice; IÕm not the voice. and ignot to be the zed Marvel n a And thenmarcame the juggernaut w ginali t e plane . I don'h ey let off th societyWaititi t that has catapulted into international SE A N BA KER n o s r first pestage crisis. o superstardom. iOne what fans of the S C R E E N W R I T E R SÕ L E C T U R E 2 017 n a hwonders Asgardian hero’s third outing will make of Waititi’s next writer-director-actor project, AITITI TAIKA Win Y Rabbitg.– a wall mockumentary What We Do in the Shadows currently post-production, RICKJojo nin top runWaititi r sstarring e (2014), based on a previous Waititi short and dark comedy about Nazism, as v e n l l I’ once again directed by him. Adolf Hitler. tw chasing PAULA p o t never s ’m like the l l ’ I Squeezed in-between, Waititi also wrote, d I n Yeah, a m relentless, directed and starred in festival favourite Boy you. I’ tor. Termina (2010). Sincere and heartwarming, the film is tha
in association with The JJ Charitable Trust
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Nicole Holofcener
A writer-director whose films offer a perfect combination of wit, intelligence and emotion, Nicole Holofcener emerged from the burgeoning US indie scene of the 1990s. Her narratives have predominantly featured female protagonists, with such actors as Catherine Keener, Anne Heche, Jennifer Aniston, Rebecca Hall and Julia Louis-Dreyfus enjoying some of their finest big screen roles in her films. This year’s The Land of Steady Habits saw a shift in gear, charting the travails of Ben Mendelsohn’s crisis-stricken man, Anders ARKER Harris, but even here Connie Britton and Edie Falco’s roles, as the women in his Enuanced VELYN and credible. Islife, it remain o for, whour friend we a re School of the Arts at A graduate Tisch s e lifof Or is it e wthe e k ew sgrieving ourUniversity o li own lossnand mouNew York Columbia University, rning ? Have w that we ttle? enowhere e are Scorsese, ugh thashe t r a studied under Martin v e l t e d w e f to fall? ar can allo w(1991) our t Holofcener’s short Angry attracted critical ears acclaim at the Sundance Film Festival. By that When som MADGE eonhad e dialready she cut her teeth in commercial yourtime e s , own life you thin . Anworked growcinema, about d I ol having as a kproduction assistant condesceder. I don't w don't want to a n n d t e d t and then apprentice editor on o t marginal o. To be be A Midsummer ized and come socieNight’s igno (1982) Sex Comedy and Hannah and Her ty first pe. I don't want red by r t s o be the on th ey (1986). in a Sisters le h ostage c t risis. off the plane
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In general, IÕm pretty aware that someoneÕs going to be performing the RICKY I’ll nlines, to write in a way that gives ever so stoI ptryru n ing. actors as much nspace as possibleÉ PAULA Yeah, aThereÕs certain kinds of writing thatÕs very n d I ’ ll never you. I’m stop cha where the relentand directive expositional, Terminat l e s s , I’m like sing or. the I try to actor doesnÕt have much roomÉ RICthat KY kind of writing, adding the I’m moreavoid like the you. smallest amount Termof inexposition ator tha as possible n to explore to give the actor the most room PAULAand different layers of meaning. said itsubtext f
Saturday 24 November, BAFTA 195 Piccadilly
Although also a director for such diverse television series as Sex and the City, Gilmore Girls, Parks and Recreation, Inside Amy Schumer, Orange is the New Black and, most recently, One Mississippi, it is Holofcener’s feature films that have defined her reputation. Her six features as writer-director – Walking and Talking (1996), Lovely & Amazing (2001), Friends with Money (2006), Please Give (2010), Enough Said (2013) and The Land of Steady Habits (2018) – offer realistic approaches to contemporary relationships, from familial and platonic to sexual, which eschew clichéd narrative conventions in favour of more nuanced explorations of character. A similar sensitivity to characterisation is evident in the forthcoming adaptation of Lee Israel’s memoir, Can You Ever Forgive Me? (due a release in early 2019), recalling the best of classical Hollywood screenwriting while balancing caustic, brazen humour and emotional depth to hilarious and devastating effect. ihs
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The Screenwriters’ Lecture Series
Alfonso Cuarón Sunday 25 November, BAFTA 195 Piccadilly
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NADINE L ABAKI
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A member of the group of Mexican filmmakers to emerge on to the world stage in the 1990s, Alfonso Cuarón Orozco is rightly regarded as one of contemporary cinema’s most dazzling filmmakers, evincing a level of technical innovation that never eclipses the emotional weight of his stories. His most recent film, Roma (2018), which was awarded the Golden Lion at the Venice Film Festival, is a bravura exploration own favourite words and things they of Cuarón’s childhood and the political andPAUL SCHRADER reuse, so even when characters are in a social turbulence of Mexico in the early 1970s. similar milieu or similar circumstances, itÕs However, told from the perspective of Cleo, the YUKIO their voices. All my to separate important family housemaid, the broad narrative is imbued aware oflife I have be en acute a contra v ly dict with a compassionate intimacy. DeErEyR n Ea ES forty-fiture of my exi ion in the s v t e e Born in Mexico City, Cuarón began his S C R E E N W R I T E R SÕ L E C T U R E 2 017 n y c ears I s e. For resolve tr plays an this dilemma uggled to career in television, before making his feature b d y n w o r vels. Th iting the mor e debut in 1991 with Sólo con Tu Pareja. It not enoue I realized m more I wrote, e g r h e . w S o brought him international attention, as well as BAFTA-winning Emmanuel o rd of expre cinematographer ssion. I found anothe s were r form founding a working relationship with four-time Lubezki (winning twice for Cuaron’s films). A sojourn to the US to direct acclaimed adaptations of A Little Princess (1995) and a modern reworking of Charles Dickens’ Great Expectations (1998) followed, before he triumphantly returned to Mexico to write, direct, produce and edit Y Tu Mamá También (2001). This refreshingly original take on the coming-of-age and road movie genres offered a wonderfully honest exploration of sex and death. Cuarón followed this with two visionary science fictions, which he both wrote and directed: the critically acclaimed Children of Men (2006) and the multiple award-winning Gravity (2013). Just as in Roma, Cuarón here explored the fragility of existence in perilous worlds, while also keeping the emotional experience rooted in the familiar and the humane. ihs
in association with The JJ Charitable Trust
t I he storyhear. A tale ofwho pray, a ant to tale of those mines ast, a a lonely town, Caught up i n ale of d all around. ry core. To cattere plit to its ve ts under a a war, sith broken hearnds stained clans w sun. Their ha e of a cross burning ood in the nam his lonely with bl escent. From t en peace, or a cr which has chos of barbed place, istory is spun whose h d guns. wire an
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e Piccadilly have I November, Sunday n in th195 oBAFTA ife 25 All my lf a contradictistence. For i o x e e o y awar uggled t ure of m very native years I strby writing f a m y m wrote, le fort re I this difilmmaker AveLebanese actor three ere . The moand s wwhose s d l resol r e o v w o n orm d mere oat s and have fCannes epremiered z r i all the Film e l playfeatures h a t e r n more I So I found a the Festival, h.Nadine Labaki’s work continues the g u o n e t no ession. of the country’s cinema. The films xprtradition of erich
have explored femininity, gender relations and, most recently, poverty, parental neglect and the responsibility of society to look after those who deserve the right to live in peace and safety. Born in the mountain town of Baabdat, Labaki is unique among her peers for having studied filmmaking in her home country. Her first feature, Caramel (2006), focused on the lives of five women who frequent a beauty salon in Lebanon. A stark contrast to usual representations of the city, it instead explored the women’s personal issues, from same-sex attraction and the fear of aging to the travails of love. It was both a critical and commercial success.
When youÕre writing dialogue, there are no consequences. ThereÕs a temptation for your characters to be this avatar, this kind of courageous defender that says the things that you want to say. But just keep in mind that, for the character, there are very real consequences and they would protect themselves from that. Rather than let the characters be your champion, you have to understand the consequences and protect them with the dialogue. DEE REES S C R E E N W R I T E R SÕ L E C T U R E 2 017
Labaki followed it with Where Do We Go Now? (2010). This time she engaged with conflict, but through a female perspective. Fablelike in its telling, the film focuses on the women in a remote town surrounded by landmines, who despair at the warring antics of their men and embark on a series of measures to ensure peace. Her most recent film, Capernaum (2018), received a rapturous reception at Cannes, where it was awarded the Jury Prize. It is an emotionally devastating account of a young boy who, despairing at his life and the events that have befallen him, decides to sue his parents for conceiving him. It is an extraordinary achievement by a filmmaker whose work is an essential reminder of the need for compassion and humanity in our world. ihs
The Screenwriters’ Lecture Series
Paul Schrader Sunday 25 November, BAFTA 195 Piccadilly
In 2016, Paul Schrader, who has been writing and directing films for 40-plus years, told the Guardian in typical candour that, “It doesn’t matter what I do, the first line of my obituary will be ‘the writer of Taxi Driver’.” It’s probably true, such is the enduring appeal and impact of the film that saw the stars align perfectly 42 years ago to bring together the incredible talents of director Martin Scorsese, actor Robert De Niro and writer Schrader so early in their careers. And yet out of the three, over their extensive careers, Schrader is the only one yet to receive an Oscar or BAFTA nomination. Although he’s done well elsewhere – including winning Best exploring morality are clearly areas that fascinate Artistic Impression at the 1985 Cannes Film Schrader, and he’s not daunted by facing either Festival for Mishima: A Life in Four Chapters – it is pressure-cooker subjects (race and class in the still astonishing, especially when you consider his affecting Blue Collar, 1978, his first film as writerwriting credits alone include Raging Bull (1980), director) or venturing into the seedier side of life American Gigolo (1980), The Mosquito Coast (1986) (the riveting Hardcore, 1979, which can’t help but leave you feeling icky). and The Last Temptation of Christ (1988). CUARON t ALFONSO Violence is also never RE away inwhSchrader’s There’s too little space to cover all of Schrader’s en I las THEODOfar emember tainly can't r y l l a e tends with work as both an exceptional screenwriter and films, butcthat r r to come hand-in-hand I an't hope, and I ceelse did ny one conceits ofn his For instance, adept director, but it is interesting to note the central women nystories. e a had a c n i e s h w ly, mber trapped ies, aband einreaalbleak rememan b s u world recurring themes within the filmmaker’s work. the lonely e a v c a e h B either. being able to or? f d of salvation, kind usually through a Tackling theological and philosophical issues and seeking ssome toppe to hope t's left in the final act, is another devastating whaconfrontation powerful Schrader motif. This is personified by I make serious movies because I want to, Travis Bickle I perhaps, but equally as central a mostly, and because I really couldnÕt think NE LABAK NADIcomponent in the enthralling story aMishima, ll who AMALE true of anything else to do. While it can seem l is forf those who l e t I y o the criminally Light Sleeper e (1992), taut stor The underrated r. A talose who pray, a like quite a struggle and a fight sometimes, o heaand thriller Affliction Schrader’s most f th want t(1997) o es e l minrecent a t itÕs also a great privilege that I donÕt take for ast, a (2017). ly town, Caught up i n e n o film, First fReformed tw l a To und. e of granted. In some countries, you risk being thrown in prison for trying to dismantle prevailing thought structures. M A RK BOA L S C R E E N W R I T E R SÕ L E C T U R E 2 017
o . tal d all ar ery core scatteresplit to its v rts under a a war, ith broken hea nds stained clans w sun. Their ha e of a cross burning ood in the nam his lonely with bl escent. From t en peace, or a cr which has chos of barbed place, istory is spun whose h d guns. wire an
RADER PAUL SCH
in association with The JJ Charitable Trust
ely YUKIO een acut I have bction in the e f i l y All m f a contradi stence. For aware o ture of my exi ruggled to very na ive years I st by writing forty-f this dilemma more I wro resolve rds w els. The
Heightening Awareness Now in its sophomore year, BAFTA Elevate is supporting writers from underrepresented groups to progress in their careers...
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AFTA Elevate launched in 2017. The initiative was informed by the findings of a research report, commissioned by BAFTA in partnership with Creative Skillset and the BFI, that examined the career success factors of film, games and television practitioners from underrepresented groups. It did not make for happy reading. To address this issue – and, in turn, help to shape an inclusive, interesting and diverse UK film and television industry – BAFTA Elevate was created to provide a high profile, industrybacked platform for talented individuals who deserve to be endorsed, celebrated and above all hired. The initial report highlighted that subtle (often subconscious) factors impede the hiring of underrepresented groups in prestigious authorship roles, but we are confident that many industry leaders and practitioners (producers, executives and commissioners) want the needle to move. Following the success of the inaugural Elevate initiative for 15 female directors in 2017, this year BAFTA invited applications from talented screenwriters from underrepresented groups. Eighteen writers were carefully selected by a panel of industry experts from almost 200 applicants. Each of the chosen writers already
has an impressive portfolio of work and list of onscreen credits, and together they represent a range of abilities, genders, races, sexual orientations or socioeconomic backgrounds. The recipients will benefit from networking opportunities, mentoring, specially tailored panels, masterclasses and workshops to help them achieve their career goals. They are: • Bisha K Ali • Clare McQuillan
• Lisa Hammond and Rachael Spence
• Dominique Moloney
• Rachel De-Lahay
• Emma Reeves
• Sarah Farinha
• Faryal Velmi
• Sian Harries
• Grace Ofori-Attah
• Smita Bhide
• Janice Okoh
• Suhayla El-Bushra
• Javone Prince
• Tahsin Guner
• Karissa Hamilton-Bannis
• Tyrell Williams
Remember their names, support their work and, if you are in a position to do so, please consider hiring them. You can find out more about each writer here: www.bafta.org/supporting-talent/ elevate/writers-2018
The Screenwriters’ Lecture Series
Previous Screenwriters’ Lectures have been given by: 2017 Mark Boal Sean Baker Dee Rees Anthony McCarten 2016 Kenneth Lonergan Maren Ade Park Chan-wook Phil Lord and Christopher Miller
SCHEDULE AND BOOKINGS Ol Parker The Best Exotic Marigold Hotel, Imagine Me & You, Mamma Mia! Here We Go Again Friday 23 November, 19.00 at BAFTA 195 Piccadilly Taika Waititi Eagle vs Shark, Hunt for the Wilderpeople, What We Do in the Shadows Saturday 24 November, 15.00 at BAFTA 195 Piccadilly
2015 Nick Hornby Andrew Bovell Nancy Meyers Jimmy McGovern Beau Willimon
Nicole Holofcener Can You Ever Forgive Me?, Enough Said, Walking and Talking Saturday 24 November, 18.00 at BAFTA 195 Piccadilly
2014 James Schamus Emma Thompson Steven Knight
Alfonso Cuarón Children of Men, Gravity, Y Tu Mamá También Sunday 25 November, 12.00 at BAFTA 195 Piccadilly
2013 David S Goyer Hossein Amini Susannah Grant Tony Gilroy Richard Curtis cbe 2012 Lord Fellowes Scott Frank Peter Straughan Brian Helgeland Abi Morgan 2011 Charlie Kaufman William Nicholson obe Moira Buffini John Logan Guillermo Arriaga Frank Cottrell Boyce Paul Laverty 2010 Aline Brosh McKenna Simon Beaufoy Christopher Hampton cbe Sir David Hare Sir Ronald Harwood cbe Peter Morgan cbe
in association with The JJ Charitable Trust
Nadine Labaki Capernaum, Caramel, Where Do We Go Now? Sunday 25 November, 15.00 at BAFTA 195 Piccadilly Paul Schrader American Gigolo, Raging Bull, Taxi Driver Sunday 25 November, 19.30 at BAFTA 195 Piccadilly
H OW TO B O O K Tickets for all lectures can be booked via the BAFTA website at www.bafta.org/whats-on
Each of these lectures is being filmed and will soon be available to view on guru.bafta.org
WITH THANKS
F O R BA F TA
Ol Parker Taika Waititi Nicole Holofcener Alfonso Cuarón Nadine Labaki Paul Schrader
Film Programme Manager Mariayah Kaderbhai
Jeremy Brock Lucy Guard The J J Charitable Trust
Director of Learning & New Talent Tim Hunter
Briony Hanson Duncan Kenworthy ob e Tanya Seghatchian Ian Haydn Smith
L TIT T IP SCR
ten t i Wr
Event Producers Pelumi Akindude Julia Carruthers Clare Norton-Smith
i f F o e Nam
PR & Learning Campaigns Manager Niyi Akeju
ed Bas
Press Officer Harriet Black Learning & New Talent Officer Alexa Tamsett Learning & New Talent Intern Alex Crabbe
Brochure Contributor Ian Haydn Smith Brochure Design Joe Lawrence Brochure Editor Toby Weidmann
For top writing tips from award-winning talent, follow @BAFTAGuru
Covers: photography by Oliver Upton/ 20th Century Fox/Kobal/REX/Shutterstock (Ol Parker); Alison Cohen Rosa (Nicole Holofcener); Dan Winters/Netflix (Alfonso Cuarón); Fares Sokhon (Nadine Labaki); Ettore Ferrari/Epa/REX/Shutterstock (Paul Schrader). Taika Waititi cover image provided by Taika Waititi. Inside pages: Kayte Brimacombe ( Jeremy Brock portrait); Jonathan Prime/Universal/Kobal/REX/ Shutterstock (Ol Parker); Jasin Boland ©Marvel Studios 2017 (Taika Waititi); Alison Cohen Rosa (Nicole Holofcener); Warner Bros/Kobal/REX/ Shutterstock (Alfonso Cuarón); Fares Sokhon (Nadine Labaki); Atlantic-Zenith/Kobal/REX/ Shutterstock (Paul Schrader); BAFTA/Jamie Simonds (BAFTA Elevate). The Academy chooses Garda, supporting excellence in print. Printed on Garda Satin 300gsm (cover) and 150gsm (text). Supplied and printed by Taylor Bloxham Group.taylorbloxham.co.uk The carbon impact of this paper has been measured and balanced through the World Land Trust, an ecological charity.
Although every effort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions. No part of the publication may be reproduced without the permission of BAFTA. © BAFTA 2018
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