phil clarke

Interview with Phil Clarke

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Phil Clarke (aka Philmscribe) is a UK-based script consultant and screenwriter with over twenty years service to cinema.

After years working at the coal face of film on such features as Sleepy Hollow, Enigma, The Beach and two of the biggest box office franchises: Star Wars and Harry Potter, Phil turned to writing – both for the page and the screen. His screenplays have been optioned both in the UK and Hollywood and his books have been published worldwide.

 
Sophie: Phil, thank you so much for accepting this interview.

Phil: Pleasure!

Sophie: Why is it so important for a screenwriter to work with a consultant?

Phil: It’s that vital second pair of eyes. Writers of their own work often are unable to see the wood for the trees. They are understandably too close to the project. Consequently, they only have a subjective view of the story and script. Someone who has no affiliation or attachment to the project but who has demonstrable industry experience and has made it their career to learn about screencraft and has helped countless others can provide that all-important objective viewpoint. 
 
When a novelist attached to a publisher releases a book, it’s not published sight unseen. It’s checked, proofread, edited, revised. Often an editor is assigned to the author who works with them to tighten, clarify, hone the story’s telling. Why should screenplays be any different?

Sophie: You often say that the writer’s voice is important, why?

Phil: First, let me try to explain what the writer’s voice is, for those who might not be aware…. It’s the overall style of the writing. How the writer phrases a sentence, communicates story aspects to the reader. Word choice, tone setting etc. For instance, we can tell the difference between reading a book by Stephen King and one by Hilary Mantel… and not just from the contrasting genres. 
 
And the key reason why the writer’s voice is so vital is that producers and production companies aren’t solely looking for that one-off project; they’re seeking a writer with a clear, assured, fresh writing style. Why? Because even if they don’t particularly go for the script, they may think you’re perfect for another project they have on the pile. So essentially, your spec script is a calling card for you as a writer. It’s a writing sample. This is how many professional screenwriters get their break. 

Sophie: Do you think screenplays competitions are still worth it? And if yes, which ones? Which events a screenwriter should attend?

Phil: Some are, for sure. Although you do need to place highly. At the end of the day, you need to ask yourself why you’re entering a script contest. Do you want to get your script optioned or sold, get it in front of those who can actually make your project? Or do you just want an ego boost? Many writers, if they’re truly honest with themselves, just want the latter. They want to get that First Place or Honorable Mention award even if it’s from Backwater Nowhereville Script Competition. But it’s not really worth anything. These small script contests can’t offer a way in, can’t truly link you to the people who are willing to stump up the dollars to option or make your project. 
 
And while we’re on the subject of script contests: please watch out for script contests’ free feedback incentive. As a freelance script consultant of many years standing, I have seen countless examples of this “free” feedback sent to me from confused clients. It’s as if they’ve not really read the pages. And often those that are hired to provide these ultra-brief notes aren’t experienced enough to give such notes. You don’t know who you’re getting them from, so why should you trust what they say? Another reason why you should seek out a reputable script consultant who has proven industry nous, who has a face, a name, an identity you can talk to rather than “free” feedback (which isn’t free as you’ve paid to submit your screenplay!)
 
Here’s a list of the good guys when it comes to script comps. But beware: these are tough to win. If you do manage to place highly in these, then you should give yourselves a pat on the back as you’ll likely get a very solid shot at becoming a pro within the industry. 
 
Nicholl Fellowship
Final Draft Big Break
Screencraft
Page
Bluecat
Script Pipeline
Austin
Scriptapalooza
Save the Cat Screenwriting Competition
Image by olilynch @ Pixabay

Sophie: Who is/was your mentor and what has she/he taught you?

Phil: I never had one single individual who acted as a mentor; it was more of a collective. The years spent working for movie productions, on the sets of major films, seeing first-hand how the likes of Tim Burton, Terry Gilliam, George Lucas, Chris Columbus, Michael Apted did their thing was a huge learning experience for me. I was fortunate to closely shadow Chris Columbus on the first two Harry Potter films, was with him on-set, in the rushes theatre watching dailies, in the production office, in editing, and accompanied him to all departments during principal photography and this priceless level of access – not to mention having the chance to bend his ear and get his take on filmmaking and writing and having him read my early work – allowed me to fully understand the filmmaking and script development processes.

I’ll never forget the best piece of advice he gave me. At the time, I was poring over paradigms and screenwriting formulae, and when I asked him about the validity of these, he turned to me and said: “Just write an entertaining story.” It was his way of telling me not to rely on these overworked plot structures, but focus on telling a story that entertains. If you can do this honestly, then you’re on the right track.

Image by qimono @ Pixabay

Sophie: What inspires you?

Phil: Great writing. Indomitable perseverance. Plucky underdogs. Unwavering self-belief. Beautiful cinematography. Effortless prose. Unyielding passion. 

Sophie: Which screenplay do you wish you had written?

Phil: Oooh good question!  Hard to pick just one.  Those that come to mind right now — Se7en. Back To The Future. Raiders of the Lost Ark.  There are also some I wish I’d written as I feel I’d have taken them in a different direction… but out of respect, I think I’ll keep these to myself!

Sophie: What is the project that challenged you the most? How did you get through it?

Phil: That’s a tough one to answer. I can’t really go into specifics about a particular script, but consistently the projects that tend to challenge me the most are those for which I’ve been hired to perform an Anglicisation Edit. I do have quite a number of writers who don’t count English as their first or main language but have written in this tongue and wish for me to improve the authenticity of their dialogue and action. This can be quite the task, particularly when the writer’s intention isn’t clear. Consequently, there is a lot of back and forth to establish intention so I can communicate exactly what the writer requires. 

Sophie: What do you do when you get stuck on your writing?

Phil: Ask questions. Work out WHY I am stuck. What am I struggling with. Then study the answers I’ve come up with and within these should be the way forward on how to get unstuck. Sounds simplistic, but it works. 

Image by Lukasbieri @Pixabay

Sophie: Are you writing at the moment? Can you tell us something about it?

Phil: I’m always writing. Whether it be lengthy reports on scripts, script commissions, polishing other people’s projects, rewriting, creative email correspondence, articles on writing etc etc… But I assume you mean, writing my own creative projects. The answer’s yes though only when I can spare the time as my clients’ work comes first, always. Right now, I’m doing some major world-building on an ambitious time travel idea. That’s about all I can say right now.

Sophie: If you could share one secret about screenwriting, what would it be?

Phil: These days, I don’t believe there are any secrets about screenwriting. There is no magic formula to success, no shortcut to making it. You just need to do the hard graft, keep practising, keep honing your craft, work on your storytelling abilities and writing style and build that portfolio of solid, engaging, entertaining work. Secrets suggest there’s some kind of hidden way, that all the people who have made it and are working in the industry are aware of it and aren’t sharing. Not so. 

As well as a writer for hire, Phil works as a script consultant; his clients have won or placed highly at major script competitions, had their projects optioned, while others have gone on to be produced, the best debuting at Cannes.
 
He can often be found spouting screenwriting advice or talking all things film on social media via @philmscribe on Twitter & Instagram, www.facebook.com/philmscribeconsultancy and writes an occasional newsletter packed with writing tips, news, interviews and exclusive offers that goes out free to all subscribers (known as Philmscribers!) – those who are interested can sign up at the bottom of any page of his website: www.philmscribe.com