Finola Dwyer and Amanda Posey, co-organisers of next week’s scriptwriting masterclass at the Edinburgh Film Festival, have chosen Jack Thorne to be one of the writers coached during the event. Thorne, who is adapting Nick Hornby’s A Long Way Down for Posey and Dwyer, will join nine other British screenwriters taking part in the year-long course. Public funders Skillset and Scottish Screen are funding this masterclass. Tutors include directors Jane Campion (Bright Star), Mike Leigh (Vera Drake), John Madden (Shakespeare in Love) and writer Ronald Harwood (The Pianist). Not that you or I will be able to listen to their wisdom. This masterclass is strictly behind closed doors.
Kate Leys, the ex-Film4 development head who’s co-running The Story Works, accepts Thorne’s inclusion could be controversial. She says it’s inevitable in an industry as small as Britain’s that those picked will have worked with course advisers.
She wishes there was more she could do to open up The Story Works to the public. But everybody taking part has signed non-disclosure agreements so they can talk freely. Some nuggets may be posted online.
Participants seem pretty high-end to me. Among the chosen few are Jon Ronson (The Men Who Stare At Goats), Nathan Parker (Moon) and Olivia Hetreed (Girl With a Pearl Earring). Surely writers with one feature film credit already under their belts don’t need public support. Leys counters that the 10 may seem established by UK standards, but in Hollywood terms they’re almost complete beginners. “Why is it we always focus training on those just starting out, those who are the longest shots?” she asks.


“Why is it we always focus training on those just starting out, those who are the longest shots?”
Because they’re the people that stand to benefit the most and are hungriest for the knowledge. Usually people with credits think they know what they’re doing, making themselves less willing to learn or get broken down by experts.
Sounds more like a club for people to sit around and tell each other how much they “admire” their work and then go to the pub.
But that’s what the British film industry is: a social club.
the whole point of this particular scheme is that people should keep training throughout their careers – it’s not just people at the bottom who could use some guidance and inspiration and support, and if we want a world class film industry then we shouldn’t think that just because people have made a film they’re set up for life, or able to easily recreate the conditions that gave them a hit. It’s a good think that people who have already had some success are coming to something that is about being hungry for knowledge and able to admit they have a lot to learn.
It’s the creative class version of the dole.
Quit the sniping. It’s about introducing a sorely-needed degree of professionalism into UK practice. There’s no help for anyone breaking in, but there’s no structure or guidance for anyone who’s bootstrapped themselves past that first hurdle, either. Back in the 90s there was a Screenwriters’ Studio program funded by production companies (including Eon) and public bodies – working producers nominated rising screenwriters for a intensive week of screenings, analysis and mentoring from high-profile industry figures passing through. If non-pros want the same quality of access and education there’s MediaXchange, open to all.