So, was I ambivalent about SWF'09?
I can see why one might think I was.
I'm no newbie when it comes to living (old fat bastard might be more accurate) therefore I have opinions, very strong opinions. Sometimes those opinions differ from the expressed opinions of people who supposedly "know" - and I don't care. (Old fat and opinionated.) And sometimes I know I'm right, so I get annoyed because people who don't know the truth are getting conned.
The trouble is that as I spent most of the time tired (mostly because of the hotel bed) my annoyance tended to stick and be expressed out of proportion to the good things.
There is no doubt that SWF is incredibly valuable as a networking opportunity - my last blog should have demonstrated that.
But I think the most valuable factor is being with other writers. We are the creators without which drama would not exist in any form, but what we do is fundamentally lonely. A room full of writers, or even a table full of writers, is a phenomenal thing and a very encouraging thing.
So, from that viewpoint, SWF is actually vital. The fundamental factor required for success isn't talent (unfortunately) it's persistence. And it's easier to keep at it when you've met a bunch of like-minded people.
Any apparent ambivalence stems from personal disagreements with specific people.
I am not ambivalent about SWF.
What's on the turntable? "Mortal Kombat"s on the TV...
Saturday, October 31, 2009
Thursday, October 29, 2009
Fiesta - Day #4
It's too long. Four days is just too long but then if it hadn't been four days perhaps certain things wouldn't have happened...
I made no notes today. None. Nada. Zilch.
Why?
Not exactly because no one said anything interesting, more because the first session was about "Classic" Dr Who, the second session was New Who, the third session was the second part of Phil Parker's "Dynamic Universes" and nothing new was said.
The evening was Stephen Moffat talking about being in charge of Dr Who.
Much was said but nothing of major significance. But things happened on a more personal level.
I had my meeting with the "important development person from Kudos". It was a very good meeting, she loved Monsters, the whole world creation thing that I do automatically and really without a lot of thought (things are like "obvious" you know?) well apparently this is a rare skill. I know at least half a dozen other people who do universe creation without batting an eyelid - is it really that rare?
The detail was the thing that impressed her (apparently).
So will I be writing for Spooks, Hustle or MI High? Not in the near future. Why? Because I have written series and not serial. Neither Monsters nor Air demonstrate the ability to write story-of-the-week so she cannot judge whether I can pace something like that correctly. So can I submit a script that does? I asked.
No.
Kudos have a strict "no representation = no sendee scriptee" so even that personal contact with a script that demonstrates an ability to write well is not enough. They're a tough audience.
Curiously she seemed surprised that I had no representation when Monsters was such a brilliant demonstration of writing skill (ahem). I said "catch 22": can't get an agent without a credit ... can't get a credit without an agent. She didn't think that was really true, and we parted on reasonable terms - though it felt a little "awkward".
Later I spoke to Jon Peacey who had seen two (or was it three) agents as part of his speed dating, and every single one of them told him they wouldn't consider anyone unless they had a credit. (Jon had a better time later with producers.)
Hm. I think I believe the horse's mouth.
This next bit takes some explaining: Among the "Classic" Who line-up was Bob Baker who (among other things) invented K9 and, it was mentioned, wrote the incredible kids TV series Sky, back in the 70s. I have mentioned Sky before, it was weird and it was scary and apparently called "Kafka for kids" - but I hadn't known Bob wrote it. And there he was.
During one of the informal "Scriptbites" I had a word with him and told him what an influence it had had on me. And that my script Air was inspired by Sky (the name similarity is not a coincidence).
Anyway the Daughter had agreed to spread my business card among the guest speakers she came into contact with (she's a good girl). It just so happened that Bob was presenting a session about his new "K9 and Friends" series - in the venue the Daughter was responsible for. Not many people were there and it was very informal and chatty - and it turned out that they were looking for British writers for the series. So she got an email address for me to contact them.
When she told me, I grabbed one of the computers in the Internet cafe and popped an email over to them asking if they had guidelines for story idea submissions, and attached the one appropriate script I had been carrying around on a memory stick: Air.
Serendipity is cool.
After Stephen Moffat's presentation we went to the wrap party and chatted, then I returned to the hotel and here I am.
I'm going to bed.
What's on the turntable? "Show Biz Kids" by Steely Dan from "Countdown to Ecstasy"
I made no notes today. None. Nada. Zilch.
Why?
Not exactly because no one said anything interesting, more because the first session was about "Classic" Dr Who, the second session was New Who, the third session was the second part of Phil Parker's "Dynamic Universes" and nothing new was said.
The evening was Stephen Moffat talking about being in charge of Dr Who.
Much was said but nothing of major significance. But things happened on a more personal level.
I had my meeting with the "important development person from Kudos". It was a very good meeting, she loved Monsters, the whole world creation thing that I do automatically and really without a lot of thought (things are like "obvious" you know?) well apparently this is a rare skill. I know at least half a dozen other people who do universe creation without batting an eyelid - is it really that rare?
The detail was the thing that impressed her (apparently).
So will I be writing for Spooks, Hustle or MI High? Not in the near future. Why? Because I have written series and not serial. Neither Monsters nor Air demonstrate the ability to write story-of-the-week so she cannot judge whether I can pace something like that correctly. So can I submit a script that does? I asked.
No.
Kudos have a strict "no representation = no sendee scriptee" so even that personal contact with a script that demonstrates an ability to write well is not enough. They're a tough audience.
Curiously she seemed surprised that I had no representation when Monsters was such a brilliant demonstration of writing skill (ahem). I said "catch 22": can't get an agent without a credit ... can't get a credit without an agent. She didn't think that was really true, and we parted on reasonable terms - though it felt a little "awkward".
Later I spoke to Jon Peacey who had seen two (or was it three) agents as part of his speed dating, and every single one of them told him they wouldn't consider anyone unless they had a credit. (Jon had a better time later with producers.)
Hm. I think I believe the horse's mouth.
This next bit takes some explaining: Among the "Classic" Who line-up was Bob Baker who (among other things) invented K9 and, it was mentioned, wrote the incredible kids TV series Sky, back in the 70s. I have mentioned Sky before, it was weird and it was scary and apparently called "Kafka for kids" - but I hadn't known Bob wrote it. And there he was.
During one of the informal "Scriptbites" I had a word with him and told him what an influence it had had on me. And that my script Air was inspired by Sky (the name similarity is not a coincidence).
Anyway the Daughter had agreed to spread my business card among the guest speakers she came into contact with (she's a good girl). It just so happened that Bob was presenting a session about his new "K9 and Friends" series - in the venue the Daughter was responsible for. Not many people were there and it was very informal and chatty - and it turned out that they were looking for British writers for the series. So she got an email address for me to contact them.
When she told me, I grabbed one of the computers in the Internet cafe and popped an email over to them asking if they had guidelines for story idea submissions, and attached the one appropriate script I had been carrying around on a memory stick: Air.
Serendipity is cool.
After Stephen Moffat's presentation we went to the wrap party and chatted, then I returned to the hotel and here I am.
I'm going to bed.
What's on the turntable? "Show Biz Kids" by Steely Dan from "Countdown to Ecstasy"
Wednesday, October 28, 2009
Fiesta - Day #3
Shall I start by saying I'm tired? Seems a bit obvious and repetitive - this time I was woken by someone in the room above me stomping in at 2:00am and I came completely awake - even thought it might be time to get up.
It wasn't.
I tried really really hard not to be the first person in this morning and I think I wasn't. I was still the first person to pay for a coffee ... the nice coffee-serving person knows what I like now. (Fat double-shot mochachino with plain chocolate and no chocolate dusting.)
As the noble Piers has already mentioned we were into TV territory today in a big way with lots of bigwigs from the BBC plus Life on Mars/Ashes to Ashes co-creator Ashley Pharoah.
(Ohmigod, the cursor has disappeared, that's rather disconcerting. Ah, sorted it.)
My first stop was the Web Thriller session with the mighty, and self-effacing, James Moran (Severance, Dr Who, Torchwood:Children of Earth) with his director Dan Turner. Together (and with some other quite talented people) they have produced Girl No. 9 which is a 6 x 5min cop thriller. They showed us episode #1 (yes folks, we've seen it twice - they showed it again at the end) and then answered questions from the floor.
They told us that they did not know what the cost of production was - because they refused to listen whenever the Producer wanted to tell them - however they also pointed out that it was an expenses-only production. They also explained how liberating it was to produce something for the web, completely free from the constraints of the established distribution channels. This, interestingly, tied in with Simon Beaufoy's comments yesterday that smaller budgets increased creative freedom.
They do intend to monetize the product but the first showing, and for a period, it will be free - which follows Joss Whedon's Dr Horrible. You can watch it online for a fee or buy the DVD.
They are also using other platforms for distribution - like Twitter where the characters have their own accounts. There is already a fan base and the characters talk to the fans.
Interesting.
I went to the talk with Christine Langan, Creative Director of BBC Films. It was mildly interesting inasmuch as we learnt that if the BBC invests in a film they want some editorial control which reflects the BBC's purpose. And they don't accept unsolicited material from mere writers (well, you can't blame them for that) but will look at stuff submitted from agents or from production companies.
We had lunch and the bloggers indulged in enormous silliness and raucous laughter in the cafe.
I just could not bring myself to listen to Ben Stephenson, Controller of Drama Commissioning at the BBC. Why? I was tired and I'd probably heard it all before.
However I thought I'd try Kate Harwood, Head of Series and Serials at the BBC, on the subject of solving the problems of TV drama under the current climate. Can't say I was enormously impressed with that either. She compared the current situation with TV in the 70s when no money was being spent yet we had fantastic TV like Boys from the Blackstuff and Pennies from Heaven. And pointed out that it was just quality writing, and that's what we need now.
Yeah, I think we can all agree that quality writing is a good thing.
Finally there was Ashley Pharoah and Stephen Volk, in a session chaired by the same Kate Harwood, on the subject of Writin' USA.
Essentially it was about covering the differences, why the US are always trying to grab UK TV formats (although they also plunder Australia and anywhere else they can find stuff). Why those formats don't always work - and what it's like to work in the US compared to the UK, as a writer.
Life on Mars USA was cancelled after 17 episodes. Ashley thought that if they had been willing to listen to some of his suggestions it could have lasted longer. But he was not allowed to make suggestions even though, technically, he was a consultant.
On the other hand, The American Office has gone from strength to strength, but Ricky Gervais is Executive Producer on it.
The question arose: Are the Americans better at writing than the British? The consensus was that, at the top end, they are about the same but at the low end the US are slicker but not necessarily better.
In the US, a series must get to 100 episodes in order to break even (once they get to 100 they can syndicate and the money pours in) until then a series is always produced at a loss. This means that the pressure demands a certain formulaic (or perhaps stylistic) writing in order to keep up the ratings. The scripts are polished but, except in rare cases, unemotional.
Which means that the financial restrictions in the UK, limiting series to around 6 episodes, is actually a bonus to the quality of writing (cf, Simon Beaufoy and James Moran on budgets and creativity). However it means that a powerful 6-part UK drama which has a beginning, a middle, and an end, translates poorly to the US 100+ going-on-forever episode structure. (But comedy always operates under different rules.)
All three panellists agreed that they had heard US writers complaining that the US broadcasters look to the UK first for new ideas.
One of those is Being Human , the powers-that-are in LA cannot stop talking about it, one company got the format, the others are grinding their teeth and wishing they'd offered more. And that is a format that will work for long running series. (Though it'll be like Friends meets Buffy, I imagine.)
On a personal note I finally found out who I'm meeting for the ScriptMarket prize - tomorrow, I get half an hour with an important development person from Kudos. Exactly what I wanted. (Also, Monsters does fit the 100+ episode model, as well as the UK 6-episode model, I'm just so clever. Air doesn't, Tec does, Clones does.)
What's on the turntable? "Bambele" by Santanna
It wasn't.
I tried really really hard not to be the first person in this morning and I think I wasn't. I was still the first person to pay for a coffee ... the nice coffee-serving person knows what I like now. (Fat double-shot mochachino with plain chocolate and no chocolate dusting.)
As the noble Piers has already mentioned we were into TV territory today in a big way with lots of bigwigs from the BBC plus Life on Mars/Ashes to Ashes co-creator Ashley Pharoah.
(Ohmigod, the cursor has disappeared, that's rather disconcerting. Ah, sorted it.)
My first stop was the Web Thriller session with the mighty, and self-effacing, James Moran (Severance, Dr Who, Torchwood:Children of Earth) with his director Dan Turner. Together (and with some other quite talented people) they have produced Girl No. 9 which is a 6 x 5min cop thriller. They showed us episode #1 (yes folks, we've seen it twice - they showed it again at the end) and then answered questions from the floor.
They told us that they did not know what the cost of production was - because they refused to listen whenever the Producer wanted to tell them - however they also pointed out that it was an expenses-only production. They also explained how liberating it was to produce something for the web, completely free from the constraints of the established distribution channels. This, interestingly, tied in with Simon Beaufoy's comments yesterday that smaller budgets increased creative freedom.
They do intend to monetize the product but the first showing, and for a period, it will be free - which follows Joss Whedon's Dr Horrible. You can watch it online for a fee or buy the DVD.
They are also using other platforms for distribution - like Twitter where the characters have their own accounts. There is already a fan base and the characters talk to the fans.
Interesting.
I went to the talk with Christine Langan, Creative Director of BBC Films. It was mildly interesting inasmuch as we learnt that if the BBC invests in a film they want some editorial control which reflects the BBC's purpose. And they don't accept unsolicited material from mere writers (well, you can't blame them for that) but will look at stuff submitted from agents or from production companies.
We had lunch and the bloggers indulged in enormous silliness and raucous laughter in the cafe.
I just could not bring myself to listen to Ben Stephenson, Controller of Drama Commissioning at the BBC. Why? I was tired and I'd probably heard it all before.
However I thought I'd try Kate Harwood, Head of Series and Serials at the BBC, on the subject of solving the problems of TV drama under the current climate. Can't say I was enormously impressed with that either. She compared the current situation with TV in the 70s when no money was being spent yet we had fantastic TV like Boys from the Blackstuff and Pennies from Heaven. And pointed out that it was just quality writing, and that's what we need now.
Yeah, I think we can all agree that quality writing is a good thing.
Finally there was Ashley Pharoah and Stephen Volk, in a session chaired by the same Kate Harwood, on the subject of Writin' USA.
Essentially it was about covering the differences, why the US are always trying to grab UK TV formats (although they also plunder Australia and anywhere else they can find stuff). Why those formats don't always work - and what it's like to work in the US compared to the UK, as a writer.
Life on Mars USA was cancelled after 17 episodes. Ashley thought that if they had been willing to listen to some of his suggestions it could have lasted longer. But he was not allowed to make suggestions even though, technically, he was a consultant.
On the other hand, The American Office has gone from strength to strength, but Ricky Gervais is Executive Producer on it.
The question arose: Are the Americans better at writing than the British? The consensus was that, at the top end, they are about the same but at the low end the US are slicker but not necessarily better.
In the US, a series must get to 100 episodes in order to break even (once they get to 100 they can syndicate and the money pours in) until then a series is always produced at a loss. This means that the pressure demands a certain formulaic (or perhaps stylistic) writing in order to keep up the ratings. The scripts are polished but, except in rare cases, unemotional.
Which means that the financial restrictions in the UK, limiting series to around 6 episodes, is actually a bonus to the quality of writing (cf, Simon Beaufoy and James Moran on budgets and creativity). However it means that a powerful 6-part UK drama which has a beginning, a middle, and an end, translates poorly to the US 100+ going-on-forever episode structure. (But comedy always operates under different rules.)
All three panellists agreed that they had heard US writers complaining that the US broadcasters look to the UK first for new ideas.
One of those is Being Human , the powers-that-are in LA cannot stop talking about it, one company got the format, the others are grinding their teeth and wishing they'd offered more. And that is a format that will work for long running series. (Though it'll be like Friends meets Buffy, I imagine.)
On a personal note I finally found out who I'm meeting for the ScriptMarket prize - tomorrow, I get half an hour with an important development person from Kudos. Exactly what I wanted. (Also, Monsters does fit the 100+ episode model, as well as the UK 6-episode model, I'm just so clever. Air doesn't, Tec does, Clones does.)
What's on the turntable? "Bambele" by Santanna
Tuesday, October 27, 2009
Fiesta - Day #2 - Bonus
I took some piccies today, of the Ladies College rather than people.
What's on the turntable? "Super-boogie/Hong Kong Blues" by Santanna
What's on the turntable? "Super-boogie/Hong Kong Blues" by Santanna
Fiesta - Day #2
Slept much better but basically still very tired (I need to catch up now).
The morning began much the same which meant I arrived far too early - I honestly tried to arrive later but getting up with the Daughter means I have a long time to kill. I'll try harder tomorrow.
Although I tend to discuss the things I've seen there are, of course, lots of other things going on, there's always at least two things running simultaneously and if you want a real clue, go to the website and look at the programme.
So today we started with Simon Beaufoy. And what an nice intelligent guy he is. He was talking about the screenwriter as diplomat, there hoops you have to jump through to keep the project moving because it's the stalled project that doesn't made.
Useful takeaways included: if you're in a major project and you're going to be getting notes from the suits (and they do have a right to give them - it's their money and they are rarely stupid) then make sure that those notes are prepared in advance into one document and sent a week before the meeting.
As a writer you are entitled to insist on this, and it means several things: (a) they don't hit you with the notes unprepared; (b) you can get upset and calm down in the privacy of your own office; (c) they have to make sure the collected notes make sense and aren't self-contradictory. These are all good things.
He also pointed out that the smaller the budget the more creative control you, as the writer, have. Kind of self-evident, but only when you think about it.
He's also managed to do a couple of low budget movies where the finance, and even casting, was in place before he even started writing the script, which was very liberating.
An interesting point about making Slumdog Millionaire with Warner Brothers was that he, with Celador, were perfectly capable of financing the entire project themselves if they wanted to - but they wanted the US distributor on board. It meant that they could walk away at any time if they didn't like it. But it mostly went well.
Then I went to a seminar with the development head and sales head of Ealing Studios Why the Market is important to Writers. This was a curate's egg (good in parts) mostly they talked to each other which gave you a feel for the interplay between them. They also took questions as they went along. All very nice and unstructured.
But I was forced to be rude. The finish was 11:15, theoretically. At this time they seemed to have no intention of stopping, nor any attention on the clearly visible clock. By 11:20 they still seemd to have no intention of stopping. At 11:24 I decided I would give them one more minute - because I wanted to get to the next item, and I could see other people getting edgy.
As the second hand hit 12 (11:25 exactly) I stood up and walked out - followed by another three people and, soon after, a stampede. I hate being rude but there was no other option. And that is the problem with unstructured events.
I moved to the main hall where Tessa Ross, head of TV and Film development for Channel 4 was to be interviewed. She seems a very nice person and has a tiny budget (only £8m), but works hard to help interesting film projects (including Slumdog Millionaire, of course). She's not interested in making copy-cat films. But even given that they only take "solicited" scripts they still have to get through a pile of 50-60 a week and can only assist 3-4 projects each year.
As for TV they, like all channels, are looking for the successful continuing series (like Shameless) but don't bother sending stuff on spec, it won't get read.
That was me pretty much done for the day, I had very little interest in anything except Son of a Pitch which is run by 4-Talent through the year with the final at the end of the day.
So, I chatted to a guy who wasn't a writer, he runs a nightclub and restaurant in Bristol, but he'd had an idea for a film and had someone write it for him and was looking for guidance. I offered to look at the synopsis he was carrying around.
All the usual newbie problems, although actually the first two paragraphs were great and I think if I were a producer I'd be interested. There was also some script which had been laid out in Word by someone who'd looked at a shooting script. It wasn't rubbish, there was some good stuff but it needed a lot of work.
So I suggested he find a decent script consultant (I suggested a couple) and get some hard graft done on it to knock it into shape. It had some excellent promotional potential - and notice I'm not giving away any of the details because it really was a clever idea.
My good deed done for the day I wiled away the afternoon chatting to people including Tim Clague who was a Son of a Pitch finalist. Then I did some work on my Phil Parker homework, and chatted with Liz about some of the ideas I'd put in, and finally met up with Philip Shelley my script consultant.
He's another nice guy and he's been feeling really bad because he hasn't managed to get me an agent yet. But he said something we can all learn from: "I've got a lot of people I work with who have one good script, only a couple, including you, have two good scripts - and that's important."
Two good scripts means that you can do it again - and agents need to know that. (As do producers if you want them to give you a commission.)
So I went to Son of a Pitch I listened, I laughed, I applauded. To be honest no one was really bad, which is just as well, they had had intensive pitch training the day before. The winner was Office Gothic a comedy zombie movie, Tim Clague came second with his Delete Friend? jointly with Man of Colour.
This evening I took the Daughter to dinner, at Pizza Hut, really splashing out. The staff are very pleasant indeed which is one reason I went back.
And that was that.
What's on the turntable? "Guajira" by Santanna
The morning began much the same which meant I arrived far too early - I honestly tried to arrive later but getting up with the Daughter means I have a long time to kill. I'll try harder tomorrow.
Although I tend to discuss the things I've seen there are, of course, lots of other things going on, there's always at least two things running simultaneously and if you want a real clue, go to the website and look at the programme.
So today we started with Simon Beaufoy. And what an nice intelligent guy he is. He was talking about the screenwriter as diplomat, there hoops you have to jump through to keep the project moving because it's the stalled project that doesn't made.
Useful takeaways included: if you're in a major project and you're going to be getting notes from the suits (and they do have a right to give them - it's their money and they are rarely stupid) then make sure that those notes are prepared in advance into one document and sent a week before the meeting.
As a writer you are entitled to insist on this, and it means several things: (a) they don't hit you with the notes unprepared; (b) you can get upset and calm down in the privacy of your own office; (c) they have to make sure the collected notes make sense and aren't self-contradictory. These are all good things.
He also pointed out that the smaller the budget the more creative control you, as the writer, have. Kind of self-evident, but only when you think about it.
He's also managed to do a couple of low budget movies where the finance, and even casting, was in place before he even started writing the script, which was very liberating.
An interesting point about making Slumdog Millionaire with Warner Brothers was that he, with Celador, were perfectly capable of financing the entire project themselves if they wanted to - but they wanted the US distributor on board. It meant that they could walk away at any time if they didn't like it. But it mostly went well.
Then I went to a seminar with the development head and sales head of Ealing Studios Why the Market is important to Writers. This was a curate's egg (good in parts) mostly they talked to each other which gave you a feel for the interplay between them. They also took questions as they went along. All very nice and unstructured.
But I was forced to be rude. The finish was 11:15, theoretically. At this time they seemed to have no intention of stopping, nor any attention on the clearly visible clock. By 11:20 they still seemd to have no intention of stopping. At 11:24 I decided I would give them one more minute - because I wanted to get to the next item, and I could see other people getting edgy.
As the second hand hit 12 (11:25 exactly) I stood up and walked out - followed by another three people and, soon after, a stampede. I hate being rude but there was no other option. And that is the problem with unstructured events.
I moved to the main hall where Tessa Ross, head of TV and Film development for Channel 4 was to be interviewed. She seems a very nice person and has a tiny budget (only £8m), but works hard to help interesting film projects (including Slumdog Millionaire, of course). She's not interested in making copy-cat films. But even given that they only take "solicited" scripts they still have to get through a pile of 50-60 a week and can only assist 3-4 projects each year.
As for TV they, like all channels, are looking for the successful continuing series (like Shameless) but don't bother sending stuff on spec, it won't get read.
That was me pretty much done for the day, I had very little interest in anything except Son of a Pitch which is run by 4-Talent through the year with the final at the end of the day.
So, I chatted to a guy who wasn't a writer, he runs a nightclub and restaurant in Bristol, but he'd had an idea for a film and had someone write it for him and was looking for guidance. I offered to look at the synopsis he was carrying around.
All the usual newbie problems, although actually the first two paragraphs were great and I think if I were a producer I'd be interested. There was also some script which had been laid out in Word by someone who'd looked at a shooting script. It wasn't rubbish, there was some good stuff but it needed a lot of work.
So I suggested he find a decent script consultant (I suggested a couple) and get some hard graft done on it to knock it into shape. It had some excellent promotional potential - and notice I'm not giving away any of the details because it really was a clever idea.
My good deed done for the day I wiled away the afternoon chatting to people including Tim Clague who was a Son of a Pitch finalist. Then I did some work on my Phil Parker homework, and chatted with Liz about some of the ideas I'd put in, and finally met up with Philip Shelley my script consultant.
He's another nice guy and he's been feeling really bad because he hasn't managed to get me an agent yet. But he said something we can all learn from: "I've got a lot of people I work with who have one good script, only a couple, including you, have two good scripts - and that's important."
Two good scripts means that you can do it again - and agents need to know that. (As do producers if you want them to give you a commission.)
So I went to Son of a Pitch I listened, I laughed, I applauded. To be honest no one was really bad, which is just as well, they had had intensive pitch training the day before. The winner was Office Gothic a comedy zombie movie, Tim Clague came second with his Delete Friend? jointly with Man of Colour.
This evening I took the Daughter to dinner, at Pizza Hut, really splashing out. The staff are very pleasant indeed which is one reason I went back.
And that was that.
What's on the turntable? "Guajira" by Santanna
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