Link June 1997
Well, I suppose I should firstly say that almost all people who wish to enter the media, or film, fail - that is why there are so many critics. It is a tough, competitive business which takes no prisoners; spitting out its rejects with no mercy. But, there is hope. The main talents required are determination, dedication and skill (and sadly, in that order); and being mediocre is no bar once a position is achieved or a single work gains prominence.
If you want it enough and can take constant rejection - your the person for the job. Though it does help if you have youth, good looks, A-levels, a university degree and work experience on your side. The National Film School is, at this very moment, looking at how to get more disabled students on its courses/workshops (though fees are usual); so keep your eyes open and looking at relevant media information/training outlets and watch out for any British Film Institutes (BFI) Initiatives (contact them and get on their mailing list for example), or The Arts Council of Englandís schemes such as the Disability Video Arts Project (usually advertised in Disability Now and The Guardian on a Monday (its media jobs day and probably worth getting anyway).
If you want to make feature films, stick to film, rather than video or TV; television side-tracks you and often insidiously exploits - the DPU will not do you any favours for example, even if you reach its mediocre heights. Often a media organisation is looking for non-threatening trainees, so donít be too clever; its a game that has to be played (I never was good at games!). Primarily though, make sure you are writing down ideas and treatments regularly and sending them off to places like BFI Production and BBC drama, as well as Channel 4 and your local ITV regional station.
It is very difficult to get taken seriously unless you have a written script to at least first draft. So work on one, take it to professionals in your area for advice once completed for re-writing (there should be a writersí group in you area, details available from you Regional Arts Board). A completed script shows dedication and commitment, something valued above all else (even talent) but do not take rejection to heart; if a script is rejected, ask why, and make corrections as requested. Remember: most films/scripts are dreadful yet still get made and yours, given time, consideration and expert input by a script editor, could be as good (or bad) as anyone else's. Write from experience in the first instance, and don't try and write about everything in one script and write it in the correct format, using a computer/typewriter. The easier, and more familiar something is to read the more likely it is to be liked.
Read scripting, technique and direction books (ring a film department lecturer at a chosen University for details) and watch a wide variety of films and not just popular ones: Swedish; Spanish (i.e. Pedro Almodovar's latest); and the avant-guard (a film such as Steve Dwoskin’s masterpiece Trying To Kiss the Moon when it is broadcast on Channel 4 later this year). Finally, keep you eye out for what different films are on television; think about why they are good (or perceived to be) even if you do not like them (I often don't). But, above all, keep on trying to kiss the moon.
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