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Consultancy Services
I have an internationally-recognized expertise in diagnosing and offering solutions to the problems of non-linear, multiple protagonist and parallel narrative films. As far as I know, there is other consultant who offers such help.
No quick reader's reports, 'coverage' or critiques
My consultancies take a lot of time. Part of the reason for this is the inherent complexity of the structures and part is because of my method. This is very different from that of most consultants. I do not provide reader's reports, coverage or critiques – by which I mean short reports providing feedback after one reading of the script and little or no discussion with the film-makers. While there can be value in getting an expert's first impressions, it can be very dangerous to change your script on the basis of opinions expressed in such a report, indeed, much of the consultancy work I do consists of fixing scripts that have been altered on the advice of one hasty reading.
With the best will in the world, if you read a script only once you can very easily miss the writer's intent. Often, in early drafts, the writer's intention is unclear, or in scripts that have gone through many drafts, the through-line is no longer clear or vital clues have been lost and the reader can easily misread what’s on the page. Alternatively, particularly with writer-directors, vital directions and explanations are often written in a kind of shorthand (or often not written in at all) because the director, who can see the film so clearly, is unaware that the vision isn’t at all clear to others. Another common problem, particularly in films that have gone through many drafts, is that no one involved in the project has noticed when, through many drafts, vital information gets unintentionally cut out.
In my experience working with many writers, often I understand fully what a writer intends only when I've read the script several times and spoken to the writer, director and producer. And that is a scary experience for all of us – because what it means is that people approached to read the script – producers, directors, financiers – will also miss the point. Personally, I never comment on a script after only one reading. I do at least four readings and often more.
How I work
So, I read the script many times. I work in a very detailed methodical fashion on your script for a number of weeks in a way that involves the whole creative team (if these are already on board), getting you and your team to complete a questionnaire to establish intentions, isolate problems and find possible solutions. At the end of the process I present a report on how in my view the script can be made better. All of my consultancies involve one or more conference calls in which we discuss the script. All consultancies involve multiple readings, marginal comments in the script, comments on your questions and mine, a report about the script and at least one conference call. I find that the detailed and rigorous approach I've created saves time and money down the track, reduces the number of drafts (hence the risk of writer-burnout) and puts the film makers firmly in control of their project. Normally I work only on one draft per consultancy. In some special cases however I will do more.
Limited Availability
Since I seem to be the only consultant internationally who works on nonlinear and parallel narratives and these very complex scripts are now so popular, I find myself inundated with requests for help. While I enjoy my consultancy work, there are only so many hours in the day and the work is demanding and time-consuming. Hence, I can accept only a few of the requests I get. I apologize in advance if have to say no to you.
Fees
The price varies according to the complexity of your script and how much construction or reconstruction it needs, particularly if you have complex nonlinear or ensemble narrative structure that needs fixing or, as sometimes happens, needs to be reimagined or stripped back to scratch. The fees are not cheap and there is usually a queue. If you want me to work with you it's best to give me as much warning as possible.
Screen Credit
I also ask for a credit of ‘dramaturg' or 'script consultant' placed in accordance with how much work I have done on your script.
If you would like any more information, please contact me
No quick reader's reports, 'coverage' or critiques
My consultancies take a lot of time. Part of the reason for this is the inherent complexity of the structures and part is because of my method. This is very different from that of most consultants. I do not provide reader's reports, coverage or critiques – by which I mean short reports providing feedback after one reading of the script and little or no discussion with the film-makers. While there can be value in getting an expert's first impressions, it can be very dangerous to change your script on the basis of opinions expressed in such a report, indeed, much of the consultancy work I do consists of fixing scripts that have been altered on the advice of one hasty reading.
With the best will in the world, if you read a script only once you can very easily miss the writer's intent. Often, in early drafts, the writer's intention is unclear, or in scripts that have gone through many drafts, the through-line is no longer clear or vital clues have been lost and the reader can easily misread what’s on the page. Alternatively, particularly with writer-directors, vital directions and explanations are often written in a kind of shorthand (or often not written in at all) because the director, who can see the film so clearly, is unaware that the vision isn’t at all clear to others. Another common problem, particularly in films that have gone through many drafts, is that no one involved in the project has noticed when, through many drafts, vital information gets unintentionally cut out.
In my experience working with many writers, often I understand fully what a writer intends only when I've read the script several times and spoken to the writer, director and producer. And that is a scary experience for all of us – because what it means is that people approached to read the script – producers, directors, financiers – will also miss the point. Personally, I never comment on a script after only one reading. I do at least four readings and often more.
How I work
So, I read the script many times. I work in a very detailed methodical fashion on your script for a number of weeks in a way that involves the whole creative team (if these are already on board), getting you and your team to complete a questionnaire to establish intentions, isolate problems and find possible solutions. At the end of the process I present a report on how in my view the script can be made better. All of my consultancies involve one or more conference calls in which we discuss the script. All consultancies involve multiple readings, marginal comments in the script, comments on your questions and mine, a report about the script and at least one conference call. I find that the detailed and rigorous approach I've created saves time and money down the track, reduces the number of drafts (hence the risk of writer-burnout) and puts the film makers firmly in control of their project. Normally I work only on one draft per consultancy. In some special cases however I will do more.
Limited Availability
Since I seem to be the only consultant internationally who works on nonlinear and parallel narratives and these very complex scripts are now so popular, I find myself inundated with requests for help. While I enjoy my consultancy work, there are only so many hours in the day and the work is demanding and time-consuming. Hence, I can accept only a few of the requests I get. I apologize in advance if have to say no to you.
Fees
The price varies according to the complexity of your script and how much construction or reconstruction it needs, particularly if you have complex nonlinear or ensemble narrative structure that needs fixing or, as sometimes happens, needs to be reimagined or stripped back to scratch. The fees are not cheap and there is usually a queue. If you want me to work with you it's best to give me as much warning as possible.
Screen Credit
I also ask for a credit of ‘dramaturg' or 'script consultant' placed in accordance with how much work I have done on your script.
If you would like any more information, please contact me