Industrial Scripts is a London-based script development and training organization, founded by some of the UK's leading script analysts and sponsored b

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Industrial Scripts is a London-based script development and training organization, founded by some of the UK's leading script analysts and sponsored by major film companies, delivering a wide range of script development, information and support services to writers and filmmakers from around the world.

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Dear Colleague,

Quick! Spend the budget so they'll give us more! Film production: not at all like any other business around the end of tax year. Time for the April newsletter...


Everybody dust off the old Borat man-kini and hit the Promenade de la Croisette for the annual global film invasion of the south of France.

This year’s Jury is headed up by Jane Campion, Sofia Coppola, Gael Garcia Bernal, Willem Dafoe and Nicolas Winding Refn.

This year sees a particularly strong set of festival faves in competition – Jean Luc Godard’s GOODBYE TO LANGUAGE and the Dardennes’ Brothers TWO DAYS, ONE NIGHT should go down well with the regulars, whilst Mike Leigh flies the British flag with biopic MR TURNER, examining the life of artist JMW Turner (the guy who did the boats to us art philistines).

You can view the programme in full here.

After taking a time-out last year, we'll be at this year's festival from the 15th - 19th. Will you be there too?



The UK Film Industry stole a major step on Hollywood with a co-production treaty with the Chinese government. The deal for co-productions allows cross-regional access to local benefits including funding, but also importantly means any such co-production would not be subject to China’s import quota on overseas films. Have a British-Chinese story to tell? This could open the doors to Chinese distribution.

More details at the BFI



April saw the Chancellor’s new budget take effect – and with it increased benefits for filmmakers.

Highlights include lowering the minimum UK qualifying spend from 25% of the budget to 10%, with the culture test broadened to include European as well as British concerns. The British Film Commission has full details

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Who had a month to remember? Who can’t wait for May Day?

Here’s our run down of how industry figures fared in April.


1) Joss Whedon & Brin Hill
The writer and director cut out the middlemen and launched their low budget feature film IN YOUR EYES direct to Vimeo.

2) John Boyega, Daisy Ridley, Domhnall Gleeson and Adam Driver
Young stars are announced for lead roles in STAR WARS Episode 7


3) The Russo’s (Anthony & Joe)
CAPTAIN AMERICA: THE WINTER SOLDIER becomes the highest grossing April film of all time at the American Box Office, making the film-making siblings hot property.

4) Zack Snyder
The helmer has been pegged to direct the JUSTICE LEAGUE movie which brings together Batman, Superman, Wonder Woman et al from the DC universe.

5) Barbie
After 50 years on the shelves, the Plastic Princess is headed for the big screens in her very own movie.



1) Olivier Dahan
Director’s Nicole Kidman Grace Kelly biopic is stuck in the hands of Harvey ‘Scissorhands’ Weinstein as the pair clash over final cut of GRACE OF MONACO, just weeks ahead of its Cannes unveiling.

2) Johnny Depp
TRANSCENDANCE’s weak opening continued a downward trend for the man behind Captain Jack, following on from box office disappointments of DARK SHADOWS, THE LONE RANGER and THE RUM DIARY.

3) James Franco
Online seducer of underage girls? Or marketing bod-for-hire willing to do whatever it takes to drum up publicity? Either way, James Franco didn’t come out of his Instagram underage flirt incident looking good, even if it was just a hoax to promote a similar plotline in PALO ALTO

4) JJ Abrams
Not everything he touches turns to gold – Fox cancel his new series ALMOST HUMAN after first season.

5) Darlene Lieblich Tipton
Veteran Fox TV executive Darlene Lieblich Tipton has been fired for that most heinous of crimes – organising a fundraiser on company email. Clearly, Fox was concerned its brand image would suffer through affiliation with a good cause.


Amusing Snippet of the Month:



Rotten Tomatoes might have its rotten rating to name and shame cinema sinners – but Rolling Stone critic Peter Travers has his Scum Bucket – which as you would expect, does what it says on the tin. A monthly round-up of the worst that cinema has to offer.

Despite major US box office, HEAVEN IS REAL lands in Travers’ caustic sights and hits the top spot for April.

But perhaps the best put-down is saved for AUTHORS ANONYMOUS - “It needed somebody to write one decent scene”

There you go screenwriters, the bar has been set. Can you write one decent scene? Then you might be in with a chance.


Jeffrey Katzenberg, Steven Spielberg, George Lucas passing over the middle ground?


The future of cinema, if the prophets are to be believed...

This week saw Jeffrey Katzenberg – current head of Dreamworks Animation, former Chairman of Walt Disney, and the K of SKG Dreamworks – predict that the cost of downloading new releases would soon depend on the screen size of your display

Watching GRAVITY on your smartphone? A few pounds. Putting it on your 60 inch monstrosity that you have to duck under to get in your living room? That’ll cost you more. The Big K’s predictions come in at $15 (£9) for cinema, $4 (£2.40) for home widescreens and $1.99 (£1.20) for smartphones.

Market segmentation is nothing new – after all, that’s why it’s cheaper to hit the cinemas during the day or on Orange Wednesdays. But in Katzenberg’s comments – and Steven Spielberg and George Lucas’ warnings last year that the industry was tilting towards an oligopolistic blockbuster model resembling Broadway and the West End, where mammoth tentpole features would run for months on end and cost $35 to see – there seems to be a collective abandonment of mid-sized cinema by those at the top of the industry.

The theory holds that people will only head to the cinema for a spectacular experience they can’t get at home – 1950s Hollywood reacted to the arrival of TV with all kinds of gimmicks like 3D and shock chairs, pioneered by the likes of William Castle. But audiences dwindled through the 50s and 60s until the American auteur revolution of the mid 60s – of course ultimately boosted by the likes of Spielberg and Lucas with JAWS and STAR WARS. The point there perhaps is that they were quality blockbusters, running in the auteur philosophy.


Imagine if William Castle had access to smartphones - vibrations for the big scares?

Is history repeating? Is Hollywood reacting to the digital threat the same way it reacted to the TV threat – by trying to draw in with gimmicks, and conceding there is no way to fight the internet or widescreen home TVs at their own game? Could there be a middle ground for cinema?

Both Katzenberg and Spielberg (with his comment that you could be paying $25 for the next IRON MAN, and $7 for LINCOLN) hint at an interesting possibility, but one that few exhibitors seem to be chasing – customisable cinema. Digital distribution may put content into homes much cheaper and faster – but it also makes cinema distribution much more flexible.

Why have a cinema with 6 jumbo screens showing the same blockbusters ten times a day, when boutique screens could have access to any digital film – past or present – on demand? Want to get a group of friends together in Newcastle for that new Chilean oddball comedy that’s only screening on Tuesday morning at the Curzon Renoir? Crowdsource it and it can be done. Want to sing along to FROZEN in your own private twenty person screen on a boozy Friday night? Book it by text.

Cinema exhibition seems to be running scared of the digital threat presented by home entertainment – when perhaps instead it should be making itself more flexible, rather than more blockbuster rigid. The communal experience of cinema, the adrenaline boosting power of even a mid-size screen (no, it doesn’t matter how much you paid for your widescreen, it isn’t as good as watching THE RAID in one of Panton Street’s pokier screens) can be combined with the flexibility of on-demand to broaden distribution, and get people out of their houses.

And if all else fails, there’s always GAME OF THRONES projected on sixty feet high screens. If you can’t beat them, steal from them?


WordsWorth Writing Store continues steady growth..

We are delighted to reveal that our sister company, WordsWorth Writing Store, which opened for business in early 2013, continues to build up steam with steady sales and customer interest.

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The store stocks a comprehensive range of storytelling and physical production software, available at the most competitive prices and with brilliant FREE bonus packs, unique to us, attached.

However what we're particularly pleased about is that we will be the first UK software company to provide ongoing phone support to our customers, so rather than tearing your hair out on hold to some call centre in Kenya we can call you back if something goes wrong.

Our best-selling product, predictably, is Final Draft screenwriting software, and to buy the software at a competitive price, just click here:


Unheralded Scene of the Month: THE SILENCE OF THE LAMBS (1991)

In our "Unheralded Scene of the Month" section, our consultants nominate a classic film or TV scene, which in their view hasn't received the admiration it deserves.

It might be a scene from a classic movie, which has been crowded out by other, more "showy" scenes and set-pieces. It might be a deleted scene which is outstanding in its own right but wasn't quite in-sync or critical to the final cut of the film. Warning: plot spoilers below.

Unheralded Classic: THE SILENCE OF THE LAMBS


The film: Jonathan Demme’s excellent THE SILENCE OF THE LAMBS, just the third film to win The Big 5 Oscars (Film, Director, Actor, Actress, Screenplay) after IT HAPPENED ONE NIGHT and ONE FLEW OVER THE CUCKOOS NEST.

The plot: Use a killer to catch a killer – rookie FBI agent Clarice Starling (Jodie Foster) is tasked with teasing clues about active killer Buffalo Bill from elegant caged psychopath Hannibal ‘The Cannibal’ Lecter – with the clock ticking on the kidnap of a Senator’s Daughter.

The scene: Lecter has been promised a move from his dark dungeon basement in exchange for the identity of Buffalo Bill – and is shipped out to meet the Senator herself at an air hangar. Will Hannibal give up his prized intel? It seems so – Louis Friend is the name he gives – but he can’t resist baiting the Senator and getting inside her head with a few choice questions.

You can watch the scene here


Why it's unheralded: A scene more famous for its props than for its content and execution – the trolley and iconic face mask are scene stealers which hide some quality work and almost perfect scene structuring.

Why it's great: So first, the obvious – the power of props to elevate a scene. So far we have seen Hannibal Lecter in containment behind a glass divide – and the physical motif of ferocity contained is continued here with the strait jacket, the trolley and the mask. This maintains a continuity of expression which builds through the story – Lecter will later be in an elaborate cage – and makes the visual power of his escape that much more rewarding. For a great actor like Anthony Hopkins, the limitation draws attention to his eyes, and means Hannibal must still rely on the power of his cutting words.

The scene contains a great plant and plot diversion – in releasing the name ‘Louis Friend’, we think Lecter has bowed to demands – but as Clarice will later discover, it’s merely an anagram for ‘Iron Sulfide’ – or Fools Gold. The scene sends the plot in a new sub-direction, whilst also planting material for a twist later on.

The scene structure is perfect – building tension through the slow and apprehensive coming together of the two parties, before a great character moment as social climbing prison warden Dr. Chilton proudly introduces his prized prisoner (one line, but it reveals an immense amount about Chilton’s priorities). Lecter engages in some strong verbal strategies to get the Senator onside – foregoing paperwork and putting down Clarice Starling and Jack Crawford’s efforts (“I only pray they haven’t doomed the poor girl”) and lulling her into a false sense of security – but of course, getting her promise by dangling hope in front of her.

Once agreement has been reached, the script foreshadows danger and makes us squirm – “done things with his skin” before the scene kink. Just as the Senator’s team ask for a physical description – meaning Hannibal has grasped the upper hand despite his containment – Hannibal uses his position of power to taunt the Senator over her connection to her daughter. The moment heightens Lecter’s sense of needlessly torturing others, and reminds us that though he may be calculating, it is perhaps without rationale – a frightening combination of smarts and psycho – before he comes back to reality and spills information. The shocked look on Dr. Chilton’s face shows his embarrassment (even a minor character has a scene arc), before a small payoff – the famous “Love your suit” send-off.


Industrial Scripts Recommends...


Industrial Scripts has recently been working with the freelance website developer Rob Barns-Graham on building and preparing our new, all-singing, all-dancing website.

Rob is a London-based web developer with over 10 years experience building and designing websites, many of which as a lead developer for one of the world’s leading entertainment brands. Over the years he has honed a wide range of skills relevant to website creation ranging from website and user experience design through to digital marketing and social media, in addition to the requisite coding and development expertise. This experience makes Rob stand out in the crowd against most web developers as, he won’t simply design and build you a beautiful and functional, responsive and SEO-optimized website, he’s also able to work closely with you to make sure it fits perfectly into, and complements, your wider digital marketing strategy.

Whether you want a custom designed website made up from scratch, or custom themes and plugins for your Wordpress website, Rob can help you turn your ideas into reality. Feel free to take a look at his portfolio and get in touch via his website at and don't forget to mention Industrial Scripts when contacting him.




Information is power in the film & TV industries, so here is our vital burst of screenwriting-related intel for your mainframes!

Beware the Wolf Pack
YELLOWSTONE FALLS takes a spin on the mutation genre, as wolves battle mutated humans in Dan Kunka’s low word count 52 page spec script, bought by QED.

Brooks Elms and Glenn Sanders sci-fi script sees a blizzard used as cover for an alien invasion – Gold Circle Films and Benderspink will produce.

More chilly weather in the April spec market
Roland Emmerich picks up Arctic Dive thriller from Nicolas Wright and James A Woods

Gritty Western lands at Warner Brothers
A GARDEN AT THE END OF THE WORLD BY Gary Graham lands at a major studio – though rumoured to have a sci-fi twist. The next COWBOYS VS ALIENS?

Lauryn Kahn is in Love With the DJ
Scribe sells comedy I’M IN LOVE WITH THE DJ to Sony. Adam McKay’s former assistant strikes in big in spec market for second time after HE’S FKING PERFECT

Danny Strong to write and direct JD Salinger biopic. Strong optioned book rights from his own money to take control of the project.

Lionsgate go TERRESTRIAL
First timer Peter Gaffney builds heat on the Tracking Board, landing a big sci-fi sale.


Anyway that's about all from us for another month, but just scroll down for details of our script development services and upcoming training courses, not to mention our exclusive Insider Interviews series.

The Industrial Scripts Team

Industrial Scripts, Europe's #1 Ranked Screenplay Consultancy
Script Development - Training - Talent Connector - WordsWorth Store
3rd Floor, 33 Newman Street, London, W1T 1PY
Contact Us



At Industrial Scripts we run premium, high-quality training courses which deliver serious value to participants. Our courses are tailored to suit the requirements of the industry, and are led by professionals with proven track records of success in their own individual area of the business.

For 4 years we've been running training courses in script reading, low-budget filmmaking and screenwriting. We currently run 3 courses:

HOW TO WRITE A SCRIPT - SCREENWRITING FOR BEGINNERS is our first screenwriting course and has been designed for creative individuals who possess great ideas for films or TV shows, but don’t know where to begin. It delivers a huge amount of information, condensed into one intense day, to participants new to screenwriting, new to writing, or both. Focussing on both the writing process, and the industry writers find work in, the course aims to heavily de-mystify the process by which people become professional screenwriters, and help new writers navigate the sometimes precarious early years of the screenwriter.
Next course date: Saturday 31st May 2014

Our EFFECTIVE SCRIPT READING 1-day training seminar continues to go from strength to strength, winning consistently stellar feedback from participants...:


The course includes comprehensive contacts documents detailing all the paid script reading outlets in film and TV in the UK, and also offers attendees indefinite, ongoing email and phone support once the course is over. We can't turn you into a great script analyst overnight, but we can speed you up and save you a lot of time and effort in the process. Click here to book.
Next course date: Friday 30th May 2014


EVERYTHING AMERICA is our new course dedicated exclusively to the business of working in the world's largest film and TV industry.

The course covers agents, managers, attorneys, VISAs, where to stay, where not to stay, the structure of the TV industry, the spec script market, and much much more. It's perfect for UK Producers, Writers and Directors with one eye firmly on America. Click here to book.
Next course date: Sunday 1st June 2014



We formed Industrial Scripts to provide writers and filmmakers in the independent TV and film sector with high-quality, industry-standard script development services not usually available to them. Our consultants all have considerable experience working for and with the very best companies, and are currently very active in development (we don't believe in trading on past glories). We offer 15 different types of script development service, some are listed below, but you can visit our website to view them all...


Project Selection Service - £39.99
"Should I spend 6...12...18...months of my life developing this project?" is a question that haunts many writers, who invariably have more ideas than man-hours. Here writers submit 10 loglines (without synopses), and Industrial Scripts will put them in order of excellence, encouraging writers to channel their efforts into promising ideas rather than, as above, wasting time and energy writing themselves to a dead end. This service also includes an overview (up to 250 words) on why particular projects merit more attention than others. 

Coverage Report - £124.99 * eligible for TALENT CONNECTOR
This report on feature-length scripts consists of 4+ pages of notes and feedback to help the writer move on to his or her next draft. This is most suited to writers either in the early stages of development (at 1st draft stage, for example) or right at the very end of the development process, when notes to help "tweak" the script are required, rather than offering substantial changes.

Detailed Development Notes - £269.99 * eligible for TALENT CONNECTOR
Our Detailed Development Notes service delivers an extremely detailed analysis of your feature script, together with lengthy suggestions on how to move forward to the next draft. These reports run to 12+ pages, and offer a truly forensic analysis of the script, which will leave you in absolutely no doubt of how to improve the project and move it forward.

Script Doctoring - Fees Vary * eligible for TALENT CONNECTOR
Through our resident Script Doctors we offer writers, producers and directors the opportunity to have their project re-written, doctored, polished, re-structured and significantly improved according to their requirements. Fees are by negotiation, to book any of our doctors to work on your project or to request a quote please contact us with as much detail as possible about your script, and your requirements.


Industrial Scripts brings you The Insider Interviews - exclusive FREE content from leading industry professionals that you can't access, anywhere else. Click here to access these free interviews and either download them to your iPod, or read them online:

STORY Guru Robert Mckee
"Charlie Kaufman...what an as*...he's Mr. Theory! He's not an anti-theorist!"
Download the podcast...

Screenwriter Kevin Lehane (GRABBERS)
"I think the horror-comedy is a really tough genre...I wanted to write a monster movie, like TREMORS, or GREMLINS".
Download the podcast...

Head of Development Sophie Meyer (Ealing Studios)
"If I had to boil it down to one thing it would be "does it make you care?"
Download the podcast...

Writer-Director Ben Wheatley (KILL LIST, DOWN TERRACE)
"Short films are a waste of time...I thought if I was going to put in that much effort, I may as well try and make something I can sell..."
Download the podcast...

"I wrote 12 plays before I had anything produced..."
Download the podcast...

“I thought to myself "this is filmmaking: doing something you don't want to do and for which you will probably be punished by God!””

Film Journalist Nev Pierce (Editor-at-Large, Empire magazine)
"Interviewing directors is my favourite can be thrilling if you're meeting someone you sit down for 2 hours with David Fincher...I feel incredibly blessed to have that kind of opportunity".
Download the podcast...

Producer Gareth Unwin (THE KING'S SPEECH, EXAM)
"I'd done something a bit daft just through eagerness and I said to someone within The Weinstein Co. - "I hear I'm not in Harvey's good books anymore" and she said "Harvey doesn't have good books, there's just people he hates less that week!"
Download the podcast...


"(when the THOR call) came in I was just about ready to sing and was the longest audition process I've ever been through...".
Download the podcast...

Literary agent Rob Kraitt (Casarotto Ramsay)
'I once sold a book to Tom Cruise - it was before he and Michael Mann made COLLATERAL. It was a big six-figure deal and doesn't happen very often.'
[at the time of recording Rob Kraitt worked for AP Watt]
Download the podcast...

Literary agent Nick Marston (Curtis Brown Group)
'There are these moments in agencies when one generation wants to leave and the other generation has to somehow find the money to take over... and in our case that came from the 'honey pot' of the Winnie the Pooh estate.'
Download the podcast...

Studio Executive Alexei Boltho (Paramount Pictures)
'A typical working day for me? Smoking cigars, that's about it really!'

Screenwriter Stuart Hazeldine (EXAM, THE DAY THE EARTH STOOD STILL, KNOWING)
'I had to keep the faith, and finally the phone rang and it was a big agent from ICM in LA saying he had read my two scripts and wanted to take me on...'

Screenwriter David Scinto (44 INCH CHEST, SEXY BEAST)
'GANGSTER NO.1 is one of the best scripts we ever wrote, sadly in other hands it was ruined. Bastardised. Mutated. Amateur.'


Industrial Scripts is a London-based script development and training organisation, founded by some of the UK's leading script analysts, delivering a wide range of script development, information and support services to writers and filmmakers from around the world.

If you have received this email in error simply Unsubscribe using the link below. Remember we never email you more than twice a month.

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