Tag Archives: screenwriting

Biggs’ shoes to fill in an alien land

Sheridan Smith and Daniel Mays play Charmian and Ronnie Biggs in the real-life
story of the woman who fell for an outlaw train robber.

If the powers that be at British production house ITV had prevailed, the Australian
part of its mini-series Mrs Biggs, about the woman behind the legendary Great Train
Robber Ronnie Biggs, would have been filmed in South Africa.

Given the superb result, which traces the Biggs’ life on the run through the outback
and the familiar streets of Adelaide and Melbourne in the 1960s and ’70s with a local
supporting cast, the idea that South African actors might have been hired to attempt
Australian accents just to save a few pounds seems preposterous.

But according to actor Daniel Mays, who plays Ronnie in the five-part drama, only
the persistent protestations of British screenwriter Jeff Pope saved the project from
becoming a joke.

”Jeff Pope was really adamant that [the Biggs] fled to Australia and that should be
the place where we did it,” Mays says on the phone from London, where he is
appearing in Arthur Wing Peniro’s Trelawny of the Wells.

”All of those Australian actors in smaller parts gave it an authenticity and a real
quality that comes through. I think the Australian shoot has made it the show that it
is. In television they’re always trying to cut money, aren’t they? If you want to do
something properly you have to fight tooth and nail to try and get what you want.”

Like his dapper, self-exiled alias, 35-year-old Mays had never set foot in Australia
until fate brought him here. After filming the last English scene on freezing Blackpool
beach, Mays took the longest flight he had experienced to arrive in what he describes
as an ”alien land”.

”It was a complete culture shock,” he says of driving across the outback for two days.

”The Australian shoot became incredibly epic and the landscape opened up, which
was really great for the story and the characters. I can imagine in the ’60s there must
have been this amazing feeling, particularly for Ronnie, that they were so far away
and this was a chance to start again and wipe the slate clean.”

Before researching the role of one of Britain’s most notorious escaped criminals,
which included extensive conversations with the real Charmian Biggs who lives in
Melbourne and was a consultant on the production, Mays subscribed to the urban
legend of Biggs as an outlaw hero rather than the self-loathing fugitive who emerges
in the series.

”In Britain, we only know the tabloid Ronnie Biggs, the guy lording it up in Rio and
sticking his fingers up to the establishment.

”To a certain extent, he lived up to that caricature in order to survive. The great thing
about the length of the show is we were able to really evolve the character. You first
meet Ronnie and he is a petty crook with the gift of the gab and he wears a suit to
work even though he works on a building site. You see him chatting Charmian up on
the train and they fall in love and you see him mellow into family life. He was a great
father and provider but there was another side to him, without question.”

The woman behind the legend impressed Mays. ”I didn’t really know what to expect
because I’d read all the books and seen all the documentaries, in which Charmian
came across as an incredibly astute and intelligent woman, a well-read, an incredibly
powerful woman, and she lived up to that tenfold in the flesh … She was quite taken
aback when we got to the Rio section and I had longer hair and I was wearing blue
contact lenses and the flares. She was just like, ‘It’s quite eerie, Danny, how much you
resemble him’, and she was doing double-takes on the set.”

Mays recalls as ”a bit odd” a train journey to watch an AFL match with Charmian
Biggs. ”She was on the train again with a much younger Ronnie so that was a bit
strange, but her youngest son came and watched the game with us so I got to meet
some of her family and they were all lovely.”

However, not all of Charmian Biggs’ family were initially supportive of the series.

”The youngest son had given Charmian his blessing but it’s such a private and
controversial story. I think they were worried that we not do the story justice, but
once they’d read Jeff Pope’s brilliant scripts and met all the cast and they knew we
had integrity and were telling the story as best we could, then I think they were all
happy to go ahead with it.”

The real Ronnie Biggs and the man charged with portraying his life story never met.
Ronnie now lives in a nursing home in England, and after suffering three strokes, can
only communicate using an alphabet board.

”I think there were a lot of people nervous about me actually meeting him.

”I think he’s surrounded by people still who may have tried to influence the way I
played it, or tried to delve into the scripts and change things, and the great thing
about this story, for me, is the fact that it’s told from Charmian’s point of view. It’s
her last roll of the dice. It was her opportunity to set the record straight, because
there’s been a lot of misconceived ideas about her as well.”

Ultimately, Mays says, it was the love story that drew him to the role, and has made it
difficult to leave behind.

”Every show you do you are in a bubble, but this was weird because I’ve played so
many heavy parts, but this wasn’t a heavy character as such. There was a fun element
to him, but I felt like I was in such a bubble in that project and I found it very difficult
to let go when I’d finished it.

”I think that the key was the believability of that love story. That she would give up
everything and turn her back on the family and up sticks and go all the way out to
Australia.”

Bridget McManus – SMH – April 11, 2013

Whatever happened to non-linear films?

A decade ago, a caper like Contraband might have been in line for a fashionably
fragmentary narrative treatment – so why not now?

Straight and narrow … Contraband tells its story in a convenational narrative.

It’s a berth on the USS Contemporary all the way for Mark Wahlberg in his new
thriller Contraband, with its story about the counterfeit-money supply lines between
Panama and the United States. In fact, the film is a testament to the glories of (above
board) free trade: once known as 2008 Icelandic production Reykjavik-Rotterdam,
this piece of intellectual property has crossed the Atlantic with star Baltasar
Kormákur, who, as the new film’s director, ushered it smoothly into the Hollywood
warehouse.

Contraband is a solid enough 110 minutes, a bit like a lengthy episode of the Crystal
Maze set in a sweating central American metropolis overseen by some crazed UPS
official. But its feverish overplotting made me think it had missed a trick. It might
have benefitted from stringing together some elegant non-linear connections, like Traffic and Syriana, with whom it shares a fascination with international
logistics.

Continue reading Whatever happened to non-linear films?

Margin Call opens in Australia

The feature film Margin Call is interesting for a number of reasons. It was written over four days by writer-director J.C. Chandor, who before that had made a number of shorts films and documentaries. It was shot in 17 days, and apparently the screenplay immediately began to attract ‘name’ actors as it began circulating LA.

Craig Matheison has the details:

SOMETIMES a young filmmaker only has to look to his family and upbringing for
compelling material. For his outstanding debut feature, Margin Call, American
writer-director J. C. Chandor tellingly explores the Wall Street life that his father
spent 35 years amidst working for the investment bank Merrill Lynch.

”It feels like an honest representation of that world,” says the 37-year-old Chandor,
who has only recently returned with his young family to their home in Rhode Island
after spending the awards season in Los Angeles following his Academy Awards
nomination for best original screenplay.

He wrote the moral thriller in just four days in 2009, but with its allusive dialogue,
twisted institutional allegiance and breached ethics, Margin Call does for Tom
Wolfe’s Masters of the Universe what David Mamet’s Glengarry Glen Ross did for
shady salesmen: it creates a self-contained milieu where the characters are
compelled to reveal their true nature.

Continue reading Margin Call opens in Australia

Screenwriters being rewritten – the Hollywood model

Why does anyone want to be a screenwriter? It is the most difficult job in the
business. Facing a blinking cursor and a blank screen is much tougher than
interpreting that screenplay. And for this arduous work, the screenwriter is
compensated less than the producers, director, and stars: It is pretty rare for even an
A-list writer to get any kind of big-money profit participation on a film, while it is de
rigueur for those in the aforementioned categories. And, unlike the other artists who
work on films — and in most other art forms — it is common and even pro forma to
replace a screenwriter on a studio project. While book editors probably have given
notes to e.e. cummings and Norman Mailer, I doubt anyone ever rewrote them. I
can’t imagine that after Bruce Springsteen sent Columbia Records the songs for Born
to Run, an executive said to him, “That’s great Boss, or, eh, The Boss, but we think it
best to hand these over to John Fogerty and let him do a pass on them.” Dalí, Rodin,
and Chopin would probably be aghast to learn of how motion picture scripts are
developed. On a big-budget film, it is not uncommon for six or more writers to have
worked on the screenplay, including the director and a friend of the star who is
brought in just to work on his character’s dialogue. After 27 years working in this
industry, I’ve heard many writers complain about unjust situations or how a movie
could have been better had their work made it to the screen, but not about the actual
experience of being rewritten or rewriting someone else. So in search of illumination
on the topic, I decided to ask a group of four top script writers — David Koepp
(Jurassic Park, Spider-Man), Brian Koppelman (Rounders, Ocean’s Thirteen), Jeff
Nathanson (Catch Me If You Can, The Terminal), and Andy Walker (Se7en, Sleepy
Hollow) — for their thoughts on the curiously standard procedure of swapping
writers on movies.

Continue reading Screenwriters being rewritten – the Hollywood model

Storytelling in Documentary

STORYTELLING IN DOCUMENTARY – THE UK’S JOHN SMITHSON

One of the late entries to AIDC 2011 was this masterclass with UK producer John Smithson, of 127 Hours and Touching The Void fame. As the publicity announced, John would arrive in Adelaide hot from being nominated for 6 Oscars – and unfortunately he didn’t win any. Even more unfortunately, he had been pipped for Best Oscar by the Aussie film (sort of) The King’s Speech.

Despite that, his session on storytelling was one of the best at AIDC.

“It’s really stating the bleeding obvious that the story is the heart of everything we do,” John began. “Storytelling is what gets me out of bed in the morning and keeps me in too many bars at the small hours of the night.”

Continue reading Storytelling in Documentary

Best Adapted Screenplay vanishes from AACTA broadcast?

I’ve recently heard that the entire Best Adapted Screenplay category of the new AACTA Awards, formerly the AFI Awards, never made it to air via Channel 9’s broadcast. Apparently Stephan Elliott’s introduction to the award, during which he came out, was so long and controversial that audiences never got to see Shaun Grant receiving his gong for Snowtown.

True or false?