1)      What is your role in London 1666?

I was the “Screenplay Doctor” on the script and I am one of the producers on the film. 

2)      What attracted you to the project?

I had been working with Phil on London 1666 as his “Screenplay Doctor” for about a year or so, and as the script continued to evolve, the more interested I became in helping him make this project become a reality.  This screenplay was one of several I had consulted on for Phil, and working with him was (and is) always enjoyable; we are very much in sync and he’s very open to feedback and works diligently. In addition to an established and solid work relationship with Phil for the last few years, the historical aspect of the plot combined with the dramatic love story made this a project I just had to say YES to!

3)      What exactly is a producer’s role throughout the pre-production phase of a motion picture project?

A producer’s role and what is expected from him or her varies from project to project.  Generally speaking, preproduction can entail continued development of the screenplay and marketing package, raising money and finding funding, reaching out to distributors for presales, and casting.

4)      How does a screenplay consultant contribute to the development of a feature length screenplay?

As producers’ roles can vary on projects so can the role of the screenplay consultant.   Speaking from my own twenty-one years of experience as a script consultant, I see my job as to give writers objective feedback on their project and to help them get to the next step of their rewrite or polish so their script is ready to be submitted to film executives.  (I’m tough, honest, and fair, but I also nurture writers because as a writer myself, I know what I need when seeking feedback on my projects.) Screenwriters are often too close to their material to see problems in their work, which is only natural (not a reflection of the screenwriter’s talent), and that’s where a good consultant can step in and give professional, objective feedback. Submitting a script before it’s really “ready” jeopardizes screenwriters’ chances. Screenwriters have one chance when submitting a script to a company and/or agent because once the script is rejected, it’s nearly impossible to have the same script considered by the same company or agent even if you’ve done a brilliant rewrite.

5)      Any advice for any newbies out there in the film industry, who are trying to write or produce a feature length project?

My advice – the film industry is just that, an ‘industry’ – it’s a business.  You must be absolutely passionate about your project. If you are not passionate about your project this will come through to the film executives to whom you are pitching, submitting your work, and so on.  Develop a tough skin so you are prepared for rejection, and surround yourself with experienced people who are as passionate about your project as you are.  Immerse yourself in the business, read the trades and network, and continue to write and improve your writing. Finally, when engaging in any business arrangement, get a contract and make sure your rights and expectations for the project are clearly spelled out.

 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!!

I would like to introduce two talented, professionals attached to the project. After finding inspiration from an anonymous painting of the Great Fires of London, Phillip Skipp wrote London 1666. Skipp is from the UK, and his writing portfolio includes short stories, TV series and feature films. In 2010, Skipp graduated from Bournemouth University and received an MA in screenwriting. Skipp also has industry experience script reading with Su-City-Pictures East, LLC. In addition to writing the script, Skipp is also a producer on the project.

Susan Kouguell, an award-winning screenwriter and filmmaker, is another producer attached to the project.  Six of her short films are in the Museum of Modern Art’s permanent collection and archives, won international festivals and were included in the Whitney Museum of Art’s Biennial. Kouguell has been involved with several projects in the film industry, she associate produced Where the River Flows North and Rum and Coke. She also wrote voiceover narrations for Miramax Films and worked with director Louis Malle on And the Pursuit of Happiness. In addition, Kouguell was also an acquisitions and talent consultant for Warner Bros and Republic Pictures. Currently, Kouguell teaches screenwriting and film at Tufts University in Boston, Massachusetts, and is chairperson of Su-City Pictures East, LLC a motion picture consulting company with over 1,000 clients worldwide.

More information on other talented, professionals attached to London 1666 to follow! Two important meetings with incredible directors are set for this first two weeks of 2012, proving this New Year to be an exciting one for London 1666! Stay tuned for more exciting news throughout January 2012!Blog Pinger

My name is Katelyn Dobbs and I’m a senior communication arts student at University of New Hampshire, Manchester on the east coast of the United States. After a long, tiresome journey (three different colleges), I finally decided what I wanted to do with my life: become a screenwriter. However, I quickly realized this was easier said than done. According to the book The Savvy Screenwriter by Susan Kouguell, major motion picture studios receive about 500 scripts per month. How am I supposed to make it with those odds? Especially with this American economy, getting a job straight out of college these days is tough. I can’t just waltz my way over to Hollywood and expect to land a paid writing job. That’s when I decided to look for a good internship, one that would get me experience in the film industry.

Through my search for an internship, I met a wonderful group of people involved in a high profile project, London 1666. London 1666 is a screenplay written by Phil Skipp, who received his MA Screenwriting at Bournemouth University in England. The project is currently in its pre-production phase to be made into a motion picture. The script is a character driven story, set around the Great Fires of London during 1666, a fire which consumed roughly 70,000 out of the 80,000 homes throughout London.

The script follows a young man in his quest to reconcile his past, win the girl of his dreams, and survive the Great Fire of London. The script is a thrilling ride of love, action, and suspense which I am confident will be a movie to remember.

As an intern on this project, one of my jobs is to provide a blog providing inside information about the project to you! Follow my blog posts as I reveal my experiences as a newbie in the film industry, as well as information regarding the London 1666 project (who is the director? Who are the producers? Who will be casted? And more!) Stay tuned!

For more information about the Great Fires of London visit: http://www.luminarium.org/encyclopedia/greatfire.htm

Or check out this BBC video:

http://www.youtube.com/watch?v=WIuHolZ1gGg&feature=related