Today’s post features a conversation with the very talented Phil Skipp, the writer and one of the producers of London 1666. Skipp talks about his journey to become a writer, mission to get his screenplay to the big screen, tips and tricks of the screenwriting trade, and an exciting famous actress signed onto the project! Enjoy!
1. What is your role in London 1666?
Well that’s a really interesting question as my role has diversified over time! While writing London 1666 I naively thought once it’s finished I’ll just sell the script. But as time went on, I got to a point where I revisited my goal and had a massive change of heart. I fell in love with the script and wanted to be involved in the development process. I was new to the film industry, so my contacts and experience were limited, so I took the terrifying plunge and became a producer on my own project and started knocking on doors. Thankfully I had the assistance of Susan Kouguell who helped and gave me confidence to approach the industries finest. London 1666 is an independent film and as such I’m finding myself in several roles, writer, producer, casting agent. My tutor from Bournemouth University gave me one piece of advice I’ll never forget, now you’ve wrote the script, you’re a writer! Now you must become fearless and become a sales person, that’s the only way to make it! So I took that advice and approached other producers, actors, directors and pitched the project by email, phone and in person. Looking back I’ll never forget my first phone call to a director, I was so nervous. But now I look forward to meetings and thrive on the enjoyment of getting this project done. Remember one thing: to get in this business you must do the unexpected, be original, but different and no matter what do not be afraid to knock on a door!!
2. What inspired you about the anonymous painting of the Great Fire of London?
It’s quite funny how London 1666 developed. I was given a task in my first year at University. I had to find a picture or object which inspired me. I took a trip to London and visited the incredible museums. I looked all day but could not find anything thing that I felt passionate about and I was surrounded by beauty and history. As I left one particular museum, I saw a lone painting on the wall that caught my eye. I was inspired by a 17th century painting by an unknown artist of The Great Fire of London. I was mesmerised by the dramatic image of the River Thames on fire: hundreds of ferry boats laden with desperate families escaping the ferocious flames sweeping across the waters. At this moment I knew this story needed to be told and my mind started racing with ideas. I hope I’ve developed a story that will capture the essence of the 17th century life and the tragic disaster of The Great Fire of London, alongside an enthralling and thought-provoking storyline. I have a tremendous passion for this script and have been meticulous on giving every character a distinct voice. I believe London 1666 is a narrative that will capture the audience’s imagination. They will imagine themselves in the arena fighting for survival, swashbuckling against the villains and struggling to save innocent lives from disaster.
3. When did you decide to become a screenwriter?
For years, I would write children’s stories and read them to my two daughters. I would put their names into the stories and they would love to listen to their adventures. Later I began to write a science fiction book, but it didn’t feel right. I have always loved the film industry, but couldn’t afford to quit a full-time job. However, we saved and I completed a writer’s diploma at Raindance Film School. I decided I wanted to try my hand at screenwriting and wrote two scripts a vampire horror and a rom-com. During this time I read screenwriting books, I used to visit the library and read every book they had on writing. It wasn’t long before I came across Susan’s book ‘ Savvy Screenwriter’ and contacted her to say how much I enjoyed her writing and would she consider taking me on as her client. This is where my life started changing; working with Susan on my vampire films and comedy was a tremendous experience. Susan really tutored me on the elements of script writing and I knew that this was the ‘thing’ in life that very few people find, it made be whole and it was my one true passion. I knew that I wanted to write for the rest of my life!
4. Was it ever difficult at times, to complete London 1666, and if so, what would you recommend to other writers who are struggling to finishes their screenplays?
I decided to write London 1666 for my final piece during my Master degree at Bournemouth University. I can honestly say it was one of the most enjoyable experiences of my life. My tutor was great and I just felt myself enjoying the whole process. I couldn’t wait to get the story down on paper, develop the arena and characters. The story seemed to flow and every scene felt right and the characters took a life off their own. I think that’s the key, your characters must take on their own journeys and as a writer you must trust your creations and follow them on this journey. Planning, planning, planning, that’s my advice, plus passion. You must plan your script! I always write a bio on each of my characters, if I don’t know them, how am I expected to know what they’ll do next! Next index cards, I write every scene on an index card, I follow the 3rd act structure, and map out the hero’s journey, along with the rest of the characters. Once the index cards are complete, you will have the rough script in your hands. I lay the cards out on the floor and work through the story and plot, if it doesn’t work the index cards are moved around, taken out or changed. The beauty of using index cards is you can work the story before you start the script. What most writers fear is the end, with this strategy you will finish and it drives you to completion. Many writers have different ways and methods; you must find what works for you and stick with it. My method is to write every day, even if it’s two pages a day, just make sure you write! Two pages a day, equals a feature film of 90 minutes in 45 days, not bad!!! But you must have passion! Passion for the characters, arena and story!!
5. Any exciting news regarding London 1666 for this New Year?
Lots of exciting news!! We have some of the sets built in Hungary ready and waiting; we’re just so keen to get this project moving!! One of the issues is that being an independent film it’s even tougher to raise the funds! But I’ve always loved challenge and we’re getting interest and offers from an array of funding bodies. London 1666 is gaining a lot of interest from iconic directors who are very keen to read the script. Fingers crossed we’ll have a director attached this month!! Approaching more cast this month, it’s really quite surreal that we are gaining interest from some of the most notable actors in Hollywood. I wish I could reveal the actors, but I’m bound to silence until they’re signed. This is the year for London 1666 and I will be shortly announcing the full line up!!
