Richard Janes started in the film industry at the age of 14 working as a child actor for Children’s BBC Dramas. During film school he worked at commercial company @Radical where he got to soak in cinematic masters including Tarsem and Terry Gilliam as they worked on spots for global brands. His graduation film received a Royal Television Society nomination and shortly after he shot his first feature film “FAKERS” which received a US theatrical release in ‘07.
After meeting his wife in Los Angeles Richard relocated to the states where he won a Los Angeles Area Emmy for his pilot “Behind the Lyrics”. He has high hopes for returning to the UK and is currently developing both US and UK projects including a Superhero movie for Disney and a bio pic on legendary leading man Errol Flynn which will go before the lens in spring ’09.
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January 18, 2011
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March 30, 2010
A quick blog today and I promise to get back into it…This is an amazing book that breaks down how the studios creatively account for their income and profit participants. ANYONE who ever gets a percentage point on a movie should read this it is quite amazing… No wonder things need to change…
August 12, 2009
Hi, remember me? Yes I’ve been absent for a little while with my blog. Things have been quite hectic. So hectic in fact that I’ve had two movies green lit in the last six months. A $15M L.A. based thriller which I co-wrote and will direct called SIN OF MAN and a $4M classic horror called 9TH PASSENGER that LionsGate UK are involved in…
I’ve popped the champagne twice… we’ll three times actually. The third when I found out that a major ‘A’ list actor said he wanted to play the lead in SIN OF MAN… The highs have been enormous… and then the lows, when a few weeks before pre-production begins I get told that the project is dead, have been cavernous.
It’s a tough old world out there. But all is not lost. Both projects are in better shape than ever to get made and I have a well known actress’ production company interested in getting me to write a screen adaptation of a well know play. It’s a project I have wanted to do for years and it may, at last, be happening.
Sometimes it is tough to know how to deal with set backs at such a late stage. Especially when you have put in such enormous amounts of work for a financier who then backs out at the last minute. On SIN OF MAN I had put together budgets, schedules, scouted locations (all for no pay yet :-)) only to find out that they actually had no money. An interesting dilemma. And whilst I have been kicking myself saying ‘why didn’t you spot it before’, I have solace in knowing that the company had another movie who were already in pre production with pay or play offers to some very heavy hitters who were dupped too!
With 9th PASSENGER, things we’re a little different. Days away from transferring the rights to the screenplay the financier said they didn’t want to be involved with a WGA production. They had known all along that it was the only way to make the film. But at the last minute they pulled a fast one and tried to get the writers to go behind the WGA’s back… It was a shoot out… They pulled out their gun thinking that we would roll over… But instead they lost one of the best projects they have ever been involved with.
This town, this industry, is full of bullshitters. People who don’t treat this industry as an ‘industry’. It’s very frustrating. There seems to be a complete lack of worth, or at least understanding of someones worth/a projects worth. People are just blinded by the excitement and sexiness of making movies. They either pay far too much for something or don’t pay enough. Very rarely does something have a correct market value.
I watched Richard Attenbourgous CHAPLIN the other night with Downey Jr in the title role. A great movie. But what got me was the simplicity of the industry. How easy it was to see the chain. One day I’ll build a filmmakers community where we can go back to those days of simplicity… where we can all earn money for the work we do… and have a regular stream of income… where we can work to support each other and grow as a team… and where we can make many great movies each year at a low cost point so that the investors can get their money back and feel as if they are involved in a business that understands it’s market, it’s price point and keeps it’s costs lean. That community with be called FILMMAKERS RANCH…
It’ll take a number of years and, at the moment it seems like it will be based out of England. For the filmmakers I’ll have 30 films that will be made over 3 years, and for certain investors I’ll have a structure whereby I can reduce their risk to 0. Watch this space… As with everything, it will take time but you just have to keep pushing.
May 6, 2009
We like to see a lot of space on the page so will only be requiring around 125-175 words per page and we’ll probably be getting someone else to re-write what you have done anyway… maybe 3-5 people actually.
$1,200 per page, $6 per word, now that’s not bad is it? Well that’s what a new writer gets on a studio movie. Now, I get sent a lot of scripts and I can assure you that every page isn’t worth $1,200. I’ve got sent a lot of spec scripts that have sold for around $600,000 – that’s a staggering $6,000 per page / $30 per word. When you start to look at it like that, you’d better make sure that you have something really special on each page, something which I won’t cut out in the edit room because it is redundant; each page needs to push the story or develop the characters. But it’s amazing how still I get sent projects that fall flat, it’s like the writers aren’t thinking.
For me, and I know this can be a matter of taste, I don’t just want to know the action: “Character x walks into the room” I want to know how, I want a little detail, I want something interesting that makes me believe I’m in the hands of an accomplished writer who is worth the money. For action line “Character x walks into the room” you have been paid/ or want to be paid $36 dollars or if it’s a good spec sale $180!!!! You can also flip it on the head and use this for characters. Let’s say there are 36 speaking characters in your master screenplay, which works out at $3,300 per character, each character better be well rounded, have their own unique voice and actually have a purpose. For $3,300 I should be able to read the script without any character headings and know instantly whose dialogue it is.
Now I know this is all very simple, and some might say crude, boiling each page and character down to what they are worth, but I’m amazed at the amount of scripts where writers have been lazy. So, all you writers out there, please, once you’ve finished your script just go through each character and ask yourself: “Should I be paid $3,300 for this character and his/her dialogue?” Go through each line of action and ask “is this line worth $72”!!! If they are not, come up with something that is… come up with a line that you are proud of… that you would like to be on the wall of the WGA corridors ranking you as one of the greatest writers of all time.
My rant is over… Back to reading scripts…
February 16, 2009
Since most of my resent day-to-day work has been writing with writing partners, I’ve been using Final Draft’s ‘CollaboWriter’ function. What a genius idea! With this tool, and the use of skype, you can co-write a screenplay with anyone in the world!!! It really is truly marvelous!
I’ve been using Final Draft for five years or so and really do love it. But in using the ‘CollaboWriter’ function I’ve found a load of bugs in the system. It seems crazy that Final Draft hasn’t sorted these out, but here are the problems I encounter:
- In CollaboWriter mode you can’t undo!!!
- No commands work – I’m so used to using short cuts that this takes a while to get used to!
- Can’t change settings – i.e. elements need formatting and revision modes need to be set before hand.
- Randomly changes format… Formatting (Character, Action etc) Stays okay with the person in control but the person watching will have dialogue as action, action as scene headings etc etc…
That aside, the program has really helped me enormously.
Over the last 12 months I’ve been working with three different writing partners. With one, we have to use the program. He’s based out of England and earns his main ‘bread and butter’ as an airline attendant. As a result we have been writing a screenplay with him sitting in different parts of the world each week! My next writing partner, Ms Kathy Fischer, lives just fifteen miles down the road and yet 75% of the time we sit in our respective offices and write using the program. For us we find that it is extremely focusing. When we come up against something that has us stumped I jump in the car and we will work face-to-face to sort it out. But, even then, sitting next to each other, we’ll use CollaboWriter - we’ve just got used to seeing what each other types. And then there is Nick Maggio, with whom I wrote SIN OF MAN which the Willis Brothers are currently taking out. Nick HATES collaboWriter. And I mean HATES!!! He can’t stand me being able to see the words as he types - he gets very self concious. He wants to get his thoughts on a scene down before I can begin to formulate my ideas and punch ups… I’ll write a scene, he’ll write a scene, and then we will go back and review - for me, this way of working is just as fun and productive as using CollaboWriter.
So, Final Draft CollaboWriter might not be for everyone, but it certainly makes my life easier… I just wish they’d sort out some of the bugs.
If anyone else has any experience working with writing partners, or software to aid the process, then feel free to chime in!
