Film and TV script reporting/script coverage

 

My film screenplay coverage (script reporting) services form an integral part of my screenwriting mentoring services. Click here to find out more about that. 

 I've written more than 150 script reports on feature film and TV scripts in all genres for various individuals, film financiers, film producers, and film directors - some of them Oscar winners. Many of these screenplays have been produced.

 

My detailed film script reports enable screenwriters, film directors, film producers, and film script developers to achieve essential cinema audience engagement. I go beyond highlighting issues with a screenplay. I also provide solutions: ways the screenplay can be improved. Improvement may just involve better script dialogue or better screenplay action text; but more usually it involves deep changes to the screenplay story and structure - even the screenplay concept.

 

In my experience as a script analyst, the problems with screenplays usually exist at a 'roots' level, rather than at the levels of 'twigs' and 'branches'. So screenwriters and script developers must have the courage to 'go into the story' at fundamental levels in order to realise the potential of the script.

 

When it comes to screenplays, you can't paper over the cracks. You have to rebuild the wall: a brilliant production can never disguise a bad film script.  The value of excellent film script analysis is therefore immeasurable. It can empower film makers and screenwriters to find success. So let's get cracking.

 

My film and TV script reports address the following screenplay elements:

 

  • Concept/Premise - is the idea/premise of your script workable? Does it suit the . . .

  • Genre - is this the right screenplay genre via which to explore your film concept? Is there a ready cinema audience/market for the film genre you have chosen?

  • Story - like the man said: you need three things to make a good screenplay

  • Plot - the screenplay plot is the way you tell your story. Does the plot work? Is it compelling? Is the plot plausible in the way film audiences requires plausibility? 

  • Structure - the 'shape' of your script story. Can it be improved? If so, how? 

  • Pace - is your script a page-turner or an uphill slog? You need to write your screenplay from your reader's POV. Why would the reader want to keep reading your screenplay? 

  • Characters - nuanced, dynamic, realistic characters that film audiences can relate to, love, hate, or vicariously go on a journey with are vital. Does your script have them? 

  • Relationships - relationships in your script need to be as dynamic, compelling and plausible as the story and plot of your screenplay - and as interesting as the concept.  

  • Dialogue - is the dialogue in your film or TV screenplay snappy? Is it (if is needs to be) fun? Is it smart? How about elliptical? Less is much, much more. None is perfect.

  • Conclusion - an honest summation of your screenplay and its potential. 

 

The script report is also scored on a % basis according to the following criteria:

 

  • Film script premise

  • Screenplay story line

  • Characterisation

  • Film script dialogue

  • Film script structure

  • Screenplay pace

  • Screenplay originality

  • Audience Appeal

 

Script reporting CV/resume

 

This is my script reporting resume/CV. If you'd like to see my complete screenwriting resume/CV, sample script reports/notes, or screenplays that I have written, just ask.

 

For film financiers: Film screenplay (Reed Film Production & Entertainment); Feature film screenplay (R & R Film); Film script (Mugshot Films); Feature film screenplay (Green Screen Productions Ltd); Film screenplay (Archface Films); Feature film screenplay (Shadowlight Pictures); Film screenplay (Bill and Ben Productions); Screenplay (ITA Productions Limited) Film screenplay; (Smudge Films Ltd); Film screenplay (Shattered Glass Entertainment, LLC); Screenplay; (Satisfaction Productions Ltd); Screenplay (Undisclosed); Screenplay (Elstree Studio Productions Ltd); Film screenplay (Chrystal Rose Productions Ltd); Screenplay (Cavegirl Enterprises Ltd); Screenplay (AFG Film Ltd); Feature film screenplay (Gas Station 8 Ltd); Screenplay (Polaris Pictures); Screenplay (Ipso Facto Films); Screenplay (M4West Pictures Ltd.); Film screenplay (One Eyed Dog Films); Screenplay (One Eyed Dog Films); Screenplay (Camden Film); Screenplay (One Eyed Dog Films); Screenplay (Ronin Pictures Ltd); Screenplay (Instinctive Film GmbH); Screenplay (Studio Potential); Feature film screenplay (Devious Productions Ltd); Screenplay (Talkinglens Productions); Screenplay (Camden Film); Screenplay (Dan Films Ltd); Film screenplay (Undisclosed); Feature film screenplay (Green Screen Productions Ltd); Film screenplay (Corona Pictures); Screenplay (Pure Films); Film Screenplay (Capital Films Ltd.); Screenplay (Origin Pictures); Film screenplay (White Cloth Studios); Screenplay (Before the Dawn Productions); Screenplay (The Wilderness Company); Screenplay (The MonteCristo Fund); Screenplay (Deluxe Productions); Feature film screenplay (Flexstone Productions IOM Ltd); Screenplay (Fulwell 73 Ltd); Screenplay (Minds Eye Entertainment); Screenplay (Centre Mass Studios); Feature film screenplay (Starfish Films); Film screenplay (Narrator Entertainment); Film screenplay (Undisclosed); Film screenplay (El Gato Rojo Productions); Cinematic doco treatment (Carnaby Films); Feature film screenplay (Santa's Boot Camp LLC); Screenplay (Nokra Films S.L.); Screenplay (Thinking Films); Screenplay (Rapid River LLC); Screenplay (Ombra Films); Screenplay (That's Hollywood Pictures); Film Screenplay (Umedia); Film Film Screenplay (Goldrush Entertainment); Film Screenplay (The Mark Gordon Company); Cinematic doco treatment (Carnaby Films); Film screenplay (Subotica Ltd) Screenplay; (Paradox Entertainment); Film Screenplay (Secret Evidence Films Ltd); Feature film screenplay (De Fuca Media Ltd); Film screenplay (The Man Who Knew Infinity Ltd); Film Screenplay (Vita Nova Films); Film Screenplay (Cinema Arts Group); Film Screenplay (Andron Movie Ltd); Film Screenplay (Vicarious Dreams Ltd); Film screenplay (Filmhouse, NY); Feature film screenplay (Lotus Entertainment Ltd); Feature film screenplay (4th Wall Entertainment /Interloper Films); Feature film screenplay (The Walk Productions); Feature film script (R.F. Movie Productions Ltd.); Film screenplay (Ferrocyanide Inc. USA); Feature film script (White Lantern Film); Feature script (Deya Productions); Film script (Gamble Entertainment Group); Feature film script (Choice Point Productions); Feature film screenplay (Heroes and Villains Entertainment); Feature film script (Secret Channel Films); Film screenplay (Sandstone Films); Feature film script (West One Entertainment); Film screenplay (Earth Hart Productions Ltd); Feature film script (Outatime Films Ltd); Feature film screenplay (Water Voices Productions); Film script (Dream on Productions); Feature film screenplay (Soho Film & Media Ltd); Film screenplay (Animus Pictures)
 

 

Other scripts: PRAYER OF AN ATHEIST (Feature film script); A SHADOWING OF ANGELS (Feature film screenplay); SYNCHRONICITY (Feature film script); BAD APPLE (Feature film script - De Facto Films); SHE WASN’T THERE (Feature screenplay – private client); LOVE IN ALL THE WRONG PLACES (Feature film script - for Anton Saunders); A GIRL’S BEST FRIEND (Feature script - for Justin Tinto); SPARROW'S CALL (Feature film screenplay - Tim Kent Films); ​​CATCHING AIR (Feature film script - private client); SAVING GRACE (Feature film script – private client); DEAD BY MONDAY (TV pilot script - private client); HUMAN PET (Feature film script - private client); WINTER'S DAUGHTER (TV pilot script - private client) JOE (Feature film screenplay - Red and Black Films); RHYTHM OF LIFE (Feature film screenplay - Sterling Pictures)​; SPIDER (Feature film screenplay – Sterling Pictures); SEAHOLME (Feature film screenplay - Salon Pictures Ltd); KEEPER (Feature film screenplay - Jimmy Olsson); THE COLLECTOR (TV pilot script - private client); LIKE A FISH TO WATER (Feature film screenplay - private client); THE FAMILY (Feature film screenplay – Going Up? Productions LLC); THE ARTEMIS PROTOCOL(Feature film screenplay – Enlightenment Productions Ltd); ARTHUR & MERLIN: THE FIRE OF BALOR (Feature film screenplay - Movie Works - for Euroscript) THE CURSE OF THE WERE POODLE (Feature film screenplay - Sabre Films) TITLE (Feature film screenplay - 1405 Pictures) STILL WATERS (Feature film screenplay - Baker Street)SCREENPLAY (Feature film screenplay - 1405 Pictures) CHURCHILL (Feature film screenplay - Salon Pictures Ltd); THE PIRATE QUEEN (Feature film script – De Warrenne Pictures Ltd)DON DON (Feature film script - Salon Pictures Ltd) SOUTHSTOW (TV comedy serial pilot)FLAT 37 (Feature film screenplay  - private client)CUT LOOSE (Feature film screenplay - Green Leaf Pictures Ltd) MYRRDIN (Feature film screenplay - for Euroscript) MY LONELY ME (Feature film screenplay - Ace Film) DESPITE THE FALLING SNOW (Feature film script – Enlightenment Productions Ltd) THE HATCHING 2 (Feature film screenplay – Sabre Films)THE LAST PLANET (Feature film script - Two Bells Productions)PENICILLIN (Feature film screenplay – Passport Pictures)DECOMPRESSION (Feature film screenplay – Salon  Pictures Ltd) THE LOOKED AFTER KID (Feature film screenplay – Finite Films and TV) ALEXANDRIA (Feature film script – private client) YOU CAN’T HURRY LOVE (Feature film screenplay – Chrystal Rose Productions Ltd - 5 x re-submissions) BURNOUT (Feature film screenplay – Finite Films and TV) SHERWOOD (Feature film screenplay – De Warrenne Pictures Ltd) THE HATCHING (Feature film screenplay – Sabre Films)THE PROVIDER (Feature film script - private client) CARPET BOY (Feature film script – Lucid Pictures Ltd) OFFENDER (Feature film script – Gunslinger Films/Revolver Entertainment) CONFINE (Feature film script - Two Bells Productions) CRATER (Feature film script - Two Bells Productions) ROBIN HARVEY (Feature film script – private client) WEIR’S INTEREST (Feature film script – private client) TAKING STOCK (Feature film script – Swipe Films) PRETTY DEAD SOON (Feature film script - Sarah Boote) THE SPIRIT HEALER (Feature film script – Vernon Allen Productions) GLORIA: DEAD MEN TALKING (Feature film script – private client) BATTLE OF THE BANDS (Feature film script – private client) SLEEPING BEAUTY’S DAUGHTER (Feature film script – Wild Thyme Productions) FOXTROT ALPHA (TV pilot – private client) THE LORDS OF NIRVANA (Feature film script – Balhar Films Ltd) MAZE OF MY DESIGN (TV pilot – private client) THE BEGINNING OF THE END (Feature film script – private client) THE DISCIPLES OF GEORDIE (Feature film script - private client)  MORE THAN A GAME (Feature film script – private client) SPIRIT OF THE GAME (Feature film script - Spirit of the Game Movie Ltd) REIGN FROM SPAIN (Feature film script - Foxtrot Oscar Productions, Ealing Studios, UK) SPARKLE (Feature film script– Cinematic Productions); GREATER POWERS (Feature film script – private client)PROTECTION (Feature film screenplay – private client); MO AND ODLO – KNIGHTMARE (Feature film script - private client); AFTERMATH (Lithuanian Film Studios, Vilnius); WHINGEING POMS (Feature film screenplay – Apache Film Production Ltd, Melbourne); THE WOLF IN THE SUN (Feature film screenplay – Takhayal Entertainment, Cairo); CONVICTION (Feature film screenplay – private client); THE CELESTIAL NAVIGATOR (Feature film screenplay - private client)

Get in touch to find out more about my film or TV screenplay analysis and reporting services, see sample script reports, or ask about script reporting rates.

*

UK 07973 698736

nick@filmscreenwriter.net

My professional screenwriting and feature and TV film script consultancy services include: film screenplay writing; film script development; film script polishing; film script doctoring; film script reporting/analysis; film treatment writing; screenplay adaptations; stageplay to screenplay adaptations; short film script writing; screenwriting mentoring