I got an insight into commissioned screenplays at Cheltenham Screenwriters’ Festival last night, as professional actors delivered segments of three first-time writers material on stage. Q and A sessions then followed, and the event invited us to envisage what the final production might one day resemble. The performance element drew day three to a nice close, and gave the festival a bit more texture, after an intense schedule of seminars and panel discussions.

As the event was sponsored by BAFTA, Holly and I knew it was important that we attend, but didn’t want to disrupt proceedings after finishing late on the info desk so sneaked in and sat inconspicuously in the upper tier of the theatre. As we were so high up, we thought we could exchange hushed tones and discuss the writing material between ourselves. Unfortunately, the woman from BAFTA chairing the event had a particularly vigilant radio mic that somehow kept periodically picking up what we were saying. It must have been distracting but she couldn’t interrupt the flow of the event, and when we were later pointed out in the bar, she saw the funny side and we had a giggle. Good job she didn’t pick what we had been whispering at an earlier event regarding delegate pitches…

Cross media

At the start of the festival I thought it would be easier to pin guests down to record sound bites than it has been. But today I managed to speak to Michel Gubbins, who until very recently was editor of prestigious film journal Screen International. On record he spoke at length about manifestation of cross media and how new writers should be embracing technology and utilising it for exhibition and distribution platforms. The current recession is often presented to new writers as negative, bringing about a depression in the print media and writing industries, but Michel put a positive and fresh spin on times which are a-changing. I'll upload this thoughts here over the next few days.

Comedy writing

I was lucky enough to persuade someone to man the information desk so I could be at the most unique panel discussion at Cheltenham Screenwriters’ Festival. Writer/director Paul Bassett Davies (who funnily enough wrote the original Magic Roundabout screenplay) chaired a three-person panel debate on how far comedy writing can go without being offensive. The panel consisted of one emerging Asian comedian who satires our expectations, one comedy radio commissioner and one established and successful disabled comedienne, who’s worked with both Russell Brand and Ricky Gervais. The debate was fruitful, and the ethnic and disabled perspectives gave the debate two insightful angles –conversationally, they were also very funny and demonstrated their worth as writers.

Hectic times and gossip gold-dust

Around lunchtime, the organisers of the festival decided to change the locations of three  Q and A sessions which put a lot of pressure on Holly and I since  it was our job to make sure all the delegates and speakers were in the correct place. It snowballed after that and I had to make sure my radio mic was turned up constantly; the system is designed to reduce running around and most festivals employ it.

Cheltenham Screenwriters’ Festival has been a valuable experience, though primarily I was here to work and couldn't manage to make as many contacts as I had hoped. Saying that, you can only pack in so much and my confidence grew as the festival picked up momentum and I chatted with a substantial number of high-profile delegates. I could divulge plenty of gossip gold dust overheard  on the info desk, but then I might have to shoot you! But I hope I've got my foot far enough in the door to request a few shifts on the green room next year; now that really is the place to schmooze…