I heard about 50 kisses on Facebook. Write a short and get it in the cinema? Boom! Count me in. As soon as I read the challenge, my brain started fizzing with various scenarios. I read on... only one entry per person. What! My plan was going to be to hedge my bets with multiple entries in multiple genres.
But now I had to pick just one.
I narrowed it down to two ideas: practice makes perfect and another one which was a much darker piece about a Judas kiss. In the end though, I decided that I should just go with the one
that I would most want to watch. So, whilst the other was clever, Practice Makes Perfect was the one that I would most want to see interpreted in different ways, plus it was happy and cheesy, and
I’m a sucker for that sort of thing.
So then I came to the writing. I started with the idea of a first kiss and the thought that, more than just the kiss itself, there’s the build up to it, the anticipation, the excitement, the
expectation and then the surprise where the reality was better than you’d expected. So I was thinking about all of the ways that one can practice. But just practicing doesn’t make a dynamic
story, so I decided to cut the practices into an actual date where it built and built in excitement and ridiculousness, climaxing with a pop of the balloon, making you expect one outcome and
hopefully giving you a sweet surprise when it goes the other way.
Oh and the other thought I had was that I wanted to do it, silent, or essentially silent. That was primarily just because I thought it would be a good exercise. I had a friend that went to film
school and they were telling me people make the mistake of thinking that scripts are about talking, so in their first term they are set an assignment where they have to write without words. I
thought I’d give it a go too! I’m pleased with it actually as it forces you to think in a visual way.
So then I came to the writing itself. I always write what I call a ‘vomit draft’ (I’m not sure where I picked that term up from, but I like the idea of just getting everything out as quick as
possible). I sat for about half an hour or so and banged out two quick pages. Then I left it for a couple of weeks, just sitting there, and I let it mull over in the back of my mind. I made a few
tweaks. Adding a word, taking it out, putting it back, you know how it goes! I was aware of the constraints for filmmakers to some degree and I toyed with whether to include the interior of the
cinema or not, as I felt that this could put people off making it - and might count against me in the judging process! But in the end, I thought, hey ho, it’s pretty easy to cheat it if you shoot
it really close or shoot on a mobile phone or whatever, so I might as well leave it in and see how people respond to it.
Once I was selected and I saw the other scripts, I realised that a huge proportion of the scripts were written from the guy’s point of view. Something that I myself did too. So on my second
draft, I stated that I was happy for people to switch the genders of the protagonists around, or to make them gay, or do it however they fancied - the core thing for me was to create a universal
little moment.
It’s a great way to watch shorts, so big hat off to Chris, Gail and the team for coming up with the idea!
Eric Sjoberg (Thursday, 04 October 2012 09:11)
This contest was a huge failure.. I've read all 50 selected scripts and i have to say that form vs context=40-10. Good lines of dialogue, great descriptions but no soul in 80% of your scripts. Just a turning point at the end.. just like fireworks..
guerillafilm (Thursday, 04 October 2012 09:59)
Hey Eric, thanks for your comment.
The aim of 50 Kisses has always to get writers writing, and filmmakers collaborating. I have my own views on the scripts which I will be sharing at the LSF, and also we will build next project very differently, but to say the contest is a huge failure overlooks the fact that 2000 writers entered, 400 teams have signed up to direct now, from across the whole planet. Litterally thousands of writers and filmmakers have been engaging, offering feedback and commenting on scripts. This is a HUGE and I mean HUGE success.
What we write, including you and your comments, say huge amounts about who we are.
I say bravo to everyone who engaged with this global writing and filmmaking lab, the work is the REAL success. The end game is just a huge bonus for us all.
Chris Jones
Eric Sjoberg (Thursday, 04 October 2012 11:06)
You know Chris? you are absolutely right! "What we write, including you and your comments, say huge amounts about who we are".
So you my friend just proved me right.. quantity over quality..
Shame on you.. you know there are over 30.000 writers in Europe only with no chance in becoming pro's.. so you hang up with a competition.. BRAVO.. you have 2.000 entries.. whoever makes a similar contest will have 2.000 scripts.. ok?
I don't want to be tough with people entering the contest but i read and read thousands of scripts every year and only just 1% or less have something to say.. you must focus on quality people not on making a firework... that's what i believe..
Gabriella (Thursday, 04 October 2012 11:07)
Whatever your view on the scripts, I think it's extremely unfair and premature to say that the entire contest is a failure! It not only devalues the hard work that everyone has so far put into it, but also shows a bitter cynicism that is out of sync with the whole spirit of the project. Collaborations are being forged and new filmmaking teams are coming together from around the world! - this is an exciting time, and I am delighted to be involved in my own small way. Thanks for the opportunity Chris, Gail et al.
guerillafilm (Thursday, 04 October 2012 11:32)
Hey Eric, not sure what on earth I should feel ashamed about? Offering a free competition, run at the time and expense by volunteers, to encourages everyone to have a go, get involved, learn and create something unique. I am always amazed at how easy it is to criticise and how hard it is to build. Did you enter the competition?
Eric Sjoberg (Thursday, 04 October 2012 11:41)
Ok Gabriella maybe i was a bit unfair.. there were 10 scripts out of 50 that were on a over the mediocre level.. but that's all.. maybe i should find the time to real all scripts instead of top 50 and then write a more fair judge over the competition..
Mr Jones i didn't enter the competition for the very sole reason that i don't want to be judged by people with less knowledge on screenplay than me..
I prefer working as a reader.
Marian (Thursday, 04 October 2012 11:47)
Thanks to visitors from Los Angeles, here in Wellington at least one group of people made a 50 Kisses script. I was along for the ride and learned a lot I would never otherwise have learned, among people I'd never otherwise have met, who filmed on an iPhone++. I was inspired. I think the competition is so much more than scripts&final films. Thank you, all of you who set up 50 Kisses and are still working on it... (–would still like a gender breakdown of the script writers :-) )
Lucy V Hay (Thursday, 04 October 2012 12:00)
Eric, no wonder you prefer working as a reader - that way you can form judgements on others' writing without ever having to take a creative risk yourself. BRAVO indeed.
Peter J Austin (Thursday, 04 October 2012 12:14)
Eric, if you have nothing to learn from this then why are you here? Like you say, best stick to what you do and the rest of us will continue in the spirit of creative community, working hard, learning, trying, evolving and enjoying the experience that an opportunity like "50 Kisses" brings.
I would like to suggest a theme for the next competition, simply entitled "Troll". There must be a wealth of material out there!
Ross Aitken (Thursday, 04 October 2012 12:22)
Hi all,
Thought I'd add my tuppence in here as I understand where Eric is coming from, but I don't agree with it one iota.
It's a portmanteau film - an experiment. Of course you're not going to like all the scripts, and you won't like all the films, just like some sketches in a sketch show don't work. But different people will respond to different films in different ways, which'll make for a fascinating conversation.
I like the idea of lots of different voices - anyone who's been to a shorts programme at a festival can attest to the odd but exciting feeling of shifting tones and not knowing what's coming next. I'd much rather that than Love Actually-style single voice repetition.
How many other competitions out there offer this type of opportunity? For free?
For me the impressive thing isn't how many script entries they've had, but how many filmmakers are out there spending time and money because they believe it.
That's a helluva crew collaborating on a feature. The credits are gonna be insane!
Graham Inman (Thursday, 04 October 2012 12:54)
Gabriella, Lucy, Peter - I agree completely. Eric I can not believe you said that - YOU ARE now being judged by us ignorant folk but, you'll be glad to know, it's not for your screenwriting.
Mark Davies (Thursday, 04 October 2012 13:25)
I haven't read a single one of the selected scripts. I have never met Chris Jones or any of his compadres. I didn't enter this particular collaboration. My opinion on this is pretty straightforward. Right from the off, this project set out to do exactly what it said on its tin. The success, or failure, is judged, for me, simply by the response. By response, I mean interest and therefore entries. First the scripts themselves, and then the filmmakers' interpretations. Clearly, a lot of people have put in effort.
As we are in the Arts, and not adjudicating a Maths exam, what kind of film we end up with (and, see, I already automatically say "we" and I haven't contributed - but I could have done; I would have been welcomed, encouraged in fact; I CHOSE not to) will be judged possibly on two levels. One by those that are interested in the process it took, and another by those who will judge it on its merit as an independent feature film. Once we pay our cinema ticket we are free to judge and have an opinion. But never say It's crap. Say, I think it's crap. But that's for later. For now, this project has engaged people. It set out to engage people. So, Part One is a great success.
Chris Jones clearly loves film. He spends, however, a great deal of his time, encouraging all of us not to just love film but to GET OUT AND MAKE IT. I wish I had had a Chris Jones around when I was 25. The world is changing, the possibilities are now there. Projects like 50 Kisses are another illustration of this. I for one would be happy if Chris Jones didn't bother using up all his time to help other people when he has his own dreams to fulfill and his own screenplays to write! But fortunately there are enough people who appreciate the effort he, and others like him, put in.
I NEVER write in forums or respond to debates. But this morning, I woke up and the word FEAR suddenly stuck in my head. I thought what a destructive word that is. Even now, I can feel it. If I press the SEND button is someone going to write something derogatory about what I've just written? Did I not take part in 50 Kisses because I was scared my entry wouldn't get in, and would that make me feel worthless? At the risk of sounding like his cheerleader, Chris Jones at least tries to show people that fear may be a barrier, but at least there's always a gate, if you can make yourself open it. 50 Kisses was an accessible opportunity for EVERYONE. Those of us who claim to be writers need to have looked at ourselves in the mirror good and hard if we couldn't be bothered to take part. I am happy not to have done so (too distracted by another project). Clearly others were not. Love to you all.
Don McVey (Thursday, 04 October 2012 13:37)
Eric,
The fact you read all the entries shows you were interested in the comp. But you don't want to be judged? Is that maybe cause you're afraid your skills as a writer are even poorer than your skills as a reader?
A good reader offers constructive feedback. You're a troll at best. Feel sorry for anyone who has their work read by someone like you.
Arrogance in some people comes from being acknowledged by others as a real talent. Where does your come from? I suspect your bloated ego.
Keep up the good work Chris!
guerillafilm (Thursday, 04 October 2012 13:58)
Mark, you are right, fear is the greatest hurdle we all face as creatives - worse still, it can shut down creativity as well as just stopping you exploiting your gifts and work. Bravo!
Mark (Thursday, 04 October 2012 13:58)
Hi, I'm not sure how my blog post on Practice Makes Perfect triggered this particular thread, but debate is always good! Let's not be too harsh on Eric - he did put his name after all, so he is prepared to stand by his comments.
He's correct to say that from his point view, some scripts have more soul than the others, but for me, what makes the competition special is that every script has soul to the person that wrote it. People are putting their hearts down on paper, and sharing them with the world.
What marks the success for me is that every script has had a response - a filmmaker somewhere in the world believes in the script enough to spend their own time and money making it. That's great! I'm sure I speak for all the writers when I say that it's a wonderful feeling when a stranger believes in your work enough to put the huge amount of time into making it: one filmmaker wrote to me saying they'd "poured a lot of heart" into my story. That's an honour. Another group have set up a kickstarter page to try and raise $500 to make it: http://www.kickstarter.com/projects/1638647526/practice-makes-perfect-a-short-film-competing-in-t Incredible!
So for me, the competition isn't about being judged, it's about putting yourself out there, making new friends and having a go. Chris and the team have given us a great platform for that.
Cheers
Mark
PS - Thanks for your post Marian... someone is making Practice Makes Perfect in Wellington!! That's awesome!
John Bailey (Thursday, 04 October 2012 14:14)
Eric, you seem like one example of the depressing - but refreshingly small - group of people who take pleasure in wrecking aspiration and casting doubt while offering nothing of critical worth. I hope you can see from all the previous comments about the value of 50 Kisses that your minority cynicism runs counter to all other views. Good luck with your reading! Oh, and I'm sure that even apologies from trolls would be graciously received!
Andromeda Godfrey (Thursday, 04 October 2012 14:51)
Gotta love the haters!
Nathan Gower (Thursday, 04 October 2012 15:02)
Eric,
The thing that you might be missing here is that nearly EVERYONE involved in the project has expressed some of the same doubts as you about whether the film would come together as a "success" (defined narrowly however you will). But we entered into a competition with a spirit of "what if" not of "no way".
As a writer on the film, I hope that most will see substance to my script... but if you or others don't, should that mean I am a failure? Chris Jones set out to make this project as transparently as humanly possible -- as an experiment in something that had never been done before. One of the best components of the project, regardless of the level of "success" of the feature film, has been the collaboration. I, for one, have made some connections I would never had made, and have folks interested in producing other scripts of mine. So, whether you think the project is worth your time or not, to some of us, it has been very significant.
helene jackson (Thursday, 04 October 2012 16:40)
sadly the whole issue has confused and deflated me greatly.
Now for the truth which is that I was not good enough to make it further than the long list - there I said it and now you have every right to ignore what I say henceforth!
But I was surprised that scripts with bad grammar, huge amounts of repetitive dialogue and even (sin of sins?) voice overs were being lauded. yes I agree its no point having something beautifully formatted if it the most boring story in the world. But even on the forums others voiced what I was thinking, in that several of the stories were predictable cameos which had been seen before.
Having had it drilled into me that no reader/exec/producer would read past the first page if it didnt look professional and that voice overs were the tool of writers that couldnt be bothered to think of a more creative way of exposition. I am not conceited enough to think my script was better than any one elses, in fact it was far below the concise storytelling of several of the scripts, but I despair to think it was worse than some.
The final nail in the coffin was reading the development notes and responses from the writers, the notes agreed with pretty much all the complaints /advise from the forum readers - so if we could plainly see what was wrong with these scripts why did some of them win? Ending with responses like "the Directors can rewrite it themselves if they want" made me want to weep. What is the point of training and working so hard to hone a craft if people who don't even care enough to learn what good writing is (or take their dialogue direct from a porn film) and are hailed as the next big things? I know this all sounds like a bitter rant but this has really made my blood boil.
yes the concept is fantastic and any opportunity, especially free, is very welcome. But this whole process has made me seriously rethink my career.
50kisses (Thursday, 04 October 2012 17:47)
Hi Helene, I will be running a session at the LSF that we will film and make available to the whole community. This will shed a great deal of light over the whole process - what we got wrong, what writers got wrong, what film makers got wrong, and how we will get it right next time. Don't be disheartened, keep going.
Mark Davies (Thursday, 04 October 2012 18:01)
Helene,
DON'T re-think your career.
What you say is completely understandable. It maybe opens up a whole different can of worms. As I made clear earlier, I didn't participate, so I don't know how the process flowed for everyone involved. I am not a naturally gifted "team player" so I am used to working alone etc (as are, let's be honest, most writers!). I would have found it a new experience to be part of such an overtly collaborative event. But I have sat in a room in the West End many times, waiting to do my bit for some TV ad casting or other - knowing that they are probably going to see at least 200 similar types for just the one shot of a security guard eating Weetabix - and sometimes you just have to switch a little Ah Well button in your head. 2000 into 50 doesn't go. Of course, in the opinion of the jury, your script wasn't "right" this time. Not knowing is bad enough. Seeing other scripts win that you feel are not worthy is even worse.
In my experience of life, the more democratic a process, the less decisive and clear things can get. The only issue you can feel bad about is perhaps misjudging how this collaboration in extremis might end up making you feel. Your opinion, in this thread, is even more valid in my eyes for being from someone whose script didn't get through. NOT because it wasn't good enough. At least YOU decided to take part with all the potential for disappointment that opened up. I, and plenty others, didn't even take that risk. How bad do you think we feel?
And one other little thing: just write. Some of the greatest films in history had voice overs! And flashbacks and Christ knows how many other supposed no-nos. Every device has its place if YOU decide it. Don't pay 400 quid to have someone tell you something is right and something is wrong. YOU know what's right. The story. There shouldn't be rules, just guidelines. And even then, they should be there just to energise you. Listen and absorb, but take out what YOU agree with.
I don't half go on, eh? I just would hate you to let this experience put you off what you evidently love to be part of. And good on you for sharing.
Lucy V Hay (Thursday, 04 October 2012 18:08)
Helene, you sound like me, two years ago. I got frustrated with never getting close but no cigar on script contests and meetings and trial scripts etc so decided to give it all up and become a novelist instead. The autonomy and freedom were fantastic! I loved it. And then my novel sold in the German language *just like that*. It was as if by having joy in the process, I got more of *me* on the page ... and the story sang and people responded to it. I've just finished my second novel and I'm currently writing a book called WRITING AND SELLING THRILLER SCREENPLAYS where format is not mentioned ONCE, but good storytelling is.
With my script editor hat on then, scriptwriting is a collaborative medium, first and foremost. Whilst we can "reader proof" our scripts in the sense we can make sure they don't look like crap format-wise, we can't ensure the kind of response we want in others - if somebody could, it would be bottled and sold I'm sure.
I didn't read for the 50 Kisses comp and made none of the selections, but I did read the final 50 and can agree some I liked, some I was lukewarm on and some I didn't like much, though I felt all had some merit. Why? Because they're weren't all much of muchness; the readers worked really hard to ensure there was contrast amongst the final 50. This meant some difficult decisions would have to have been made and good scripts WILL have fallen at the last hurdle.
If you don't believe me, search around for your nearest spec pile - you will see "zeitgeist" scripts with very similar concepts in EVERY SINGLE ONE. Don't forget all the script calls I've run for LSF I've written a report on and each time we've seen that the same ideas pop up again and again. If your script has a similar idea to others in the pile, it's hard to stand out, no matter how good the writing is.
So, if you're serious about rethinking your career, maybe being a novelist IS for you. I know it was for me; I get to side step the frustrations of stuff like script contests, which I have seen from both sides multiple times. If however you feel disheartened by the process of screenwriting but ultimately still want to see your stuff make it to screen, you've gotta keep going.
And if you want to see how script calls work from the *other* side to see if I'm telling the truth about those "zeitgeist" scripts, then get out there and read as many scripts as you can - after a while, you will see certain stories do crop up again and again, just like I always say on my blog. It's very illuminating and proves, once and for all, there's nothing personal *against you* about selection and that sometimes, saying, "I don't get why they picked that one" does not automatically mean our own work is crap. Honest!
Nathan Gower (Thursday, 04 October 2012 19:21)
I love the direction that this conversation has taken now. The last few notes are what filmmaking COMMUNITY is all about. Helene, I can't offer much more than Lucy and Mark have, but I will echo that I hope your experience here doesn't, indeed, deter you from pursuing screenwriting; and whether you know it or not, you DID actually have a role in the competition. You provided a very helpful comment on my script, Colton's Big Night, and I'm sure you were able to offer helpful notes on others as well.
In the end, I know that the fact that my script made it through and yours didn't does NOT necessarily reflect any talent gap. I am an "outsider" to the industry and just trying to get started, so I am sure there were plenty of scripts submitted to the competition that were equally (or more) deserving than mine.
Nathan Gower (Thursday, 04 October 2012 19:25)
And by the way, Mark Palis, since your blog post has totally been hijacked -- I enjoyed reading! Nice reflection. : )
mark (Thursday, 04 October 2012 19:32)
Cheers nathan!
Mark Davies (Thursday, 04 October 2012 20:05)
I very much ditto Nathan's last comment, Mark Palis - good blog!
Rob Burke (Thursday, 04 October 2012 20:27)
Lots of great comments here (and the blog post as well).
I couldn't help but think after reading this post --
"I don't want to be judged by people with less knowledge on screenplay than me."
-- that this person has failed already.
Sorry Erik - your attitude stinks. Shame on you. Your posts offer nothing constructive and denigrate the hard work that 100s of people have put into this project. Obviously a lot of the scripts didn't work for you - nothing wrong with that. But to come on here and play the part of school yard bully with a holier than though attitude reeks of poor taste and judgment.
Maybe you were just having a bad day - who knows - but in the end, if you truly believe this project was a failure, I think you'll find you are in a very small and lonely minority.
Cheers,
Rob
Stephen Cooper (Thursday, 04 October 2012 23:13)
Off the computer for one evening and I miss a whole debate.
My take on 50kisses is simply this. Whatever anyones feelings are over the quality of the scripts (And I believe there to be plenty of good ones) this competetion has given a lot of exposure to plenty of writers who may not have previous had many people reading their work.
This was a chance to get a huge amount of feedback and network with a lot of film makers, writers, producers etc. We can't all afford film school and weekend film courses and going to london for everything so any free competetion that offers a good prize and networking opportunities should always be welcomed.
Quality a lot of the time is opinion. At two minutes its impossible (or near to) to make a really soulful masterpiece of cinema. A lot of the scripts were entertaining, nice, good twists etc. This was a chance for writers to show what they could do and plenty did.
I believe this competetion to be a huge sucess so far and to say its not is to discount a lot of peoples hard work. As with all things it's a learning process. I'm sure there are things Chris would like to do differently the same way that most writers like another redraft but if this competetion got stuck in a year long develooment process (Or whatever) there is no way it would be able to substain itself for free.
Just my opinion, but 50kisses gets a thumbs up from me.
James (Friday, 05 October 2012 01:21)
Helene, to rule out a script based on the inclusion of voice-over sounds very much like the opinion of someone who has spent too long reading screenwriting "how-to" books, and not enough time actually reading screenplays to appreciate that there's no screenwriting "formula" -- that each script should be judged on its own merit. However, I do agree with you in regards to the spelling mistakes. To a reader, it comes across as lazy and unprofessional, but it's not enough to detract from a great story.
As for Eric, to claim that everyone here has "less knowledge on screenplay" than you seems rather arrogant for someone who works within the screenwriting industry. The only way an individual can grow as a reader/writer is to acknowledge their own weaknesses. That is, to put yourself on the line, to have people judge your work and learn from your mistakes. The screenwriting community that this competition has created has been incredible. That, in itself, is laudable and I am proud to be a part of it, even as just a follower on twitter.
For someone who is (allegedly) paid to give constructive feedback, you sound an awful lot like a bitter, unsuccessful writer. If you really are better than everyone here, prove it.
Craig (Friday, 05 October 2012 13:05)
I have been following 50 kisses from the start and it was my first competition entry. I made the long list.
I think my biggest complaint is that the scriptwriting competition stopped being a competition and became a search for 50 stories that would fit together, which is possibly what the project need, but is not a writing competition. After all there is a prize for best screenplay
I think very little guidance was given to the writers, for example on the producers development notes for A Kiss Goodbye there is a (Filmmaker note – We don’t need to see the end happen! Let’s try and get an 18 certificate not banned!) As a writer I didn't know they were aiming for an 18 certificate. I wrote my story with a wider audience in mind, after all it's set to be released on Valentine's Day, not Halloween.
As for the Valentine's Day theme, has this gone out the window all together? Out of all the production shots I have seen on the website one has heart shaped balloons. In fact I would go as far to say that most of the production shots look completely un-Valentine's Day. Sunny settings, convertible cars. I appreciate that February 14th isn't cold everywhere in the world and I suppose it's difficult for a filmmaker to make a film in August and make it look like February.
Many of the final 50 scripts have kisses in them that are so incidental the audience may miss them, after all it's a film called 50 kisses. A film with 50 stories containing a kisses. Shouldn't each story be about a Kiss? If you love Brad Pitt and here he's in a new movie, would you be disappointed just to see him somewhere in the background?
Lucy V Hay, you put that you didn't read for the 50 Kisses comp and made none of the selections. But you appear on the website as one of the judges? When I first saw the judging lineup, I thought, "Great, Tony Jordan's going to read my script." But I guess this wasn't the case also!
I'm still following the process to see how it turns out, to see what I can learn from it and hope to discuss it with other writers at this year's London Screenwriters' Festival.