In This Issue :

Ken Basford on why the Rose D'Or is a golden opportunity.
A round up of just some of your successes this year
Are you making the most of your BSCW membership / subscription?


WHAT YOU MISSED AT THE GOLDEN ROSE OF MONTREUX!

I've been to the Golden Rose of Montreux twelve times now. Where else could I meet so many producers, commissioners, entertainers and watch the elite TV programmes of Europe's TV stations - throw in Canada, the USA and Japan too - in five or six days? It's a MUST-DO event in my Writing Calendar.

Of course, the pay-off doesn't come immediately. Back in 1988, my first Montreux, I had to wait a whole five months before being commissioned to write a fifty-two part series for Danish Television!

For me, the Golden Rose of Montreux is about two things: the TV entertainment festival, and people. As a writer, it's my business to know both.

It's difficult, but let's try and separate the two; let's look at how things have changed these last fourteen years - my Montreux lifetime.


The Festival - The Competition For The Rose.

Back in the late eighties, the contest was open only to broadcasting companies. There were fewer entries than today and the competition had become unfair since its 1961 debut; ITV "Torville and Dean's Fire on Ice" competed against USA Barbra Steisand, against BBC "Now - Something Else" and against an extremely funny, (SVT) programme. The Swedish programme won the Golden Rose and everyone knew it before the jury did.

It may sound strange, but not all entries in the competition are there to compete for an award. It's a marketplace too. The video kiosks have to be booked in advance. Barbra Streisand and Torville & Dean, while not winning the major prize that year, were probably seen in more countries than the one that did win.

I cannot say that about the 1990 winner of the Golden Rose since I saw it, yet again, on Lithuanian television just last week - Mr Bean. Can you name a country where Mr Bean has not been aired?

I still watch Benny Hill, albeit with a Russian or Polish voice-over years after the programme won the City of Montreux Comedy Prize in 1984. The Plank (Winner of the Press Prize in 1980) lies amongst my treasured videos, while Riverdance (only got a citation in 1996) I lend out to my friends.

There was a major change in 1991 when the independent companies were allowed to compete under their own name (rather than under a broadcaster such as the BBC or NDR). But still, game shows competed against broken comedy against sitcoms against musicals, against variety, etc. Even so, the independents brought new life into the festival.

1993 saw another major change. The playing field was rolled out with categories of TV entertainment being introduced and each category had its own Golden Rose. Making the playing field level was a good idea but the significance of winning THE ROSE was devalued. More changes followed.

Today there is only ONE Golden Rose for the whole competition. Minor roses (silver and bronze) are awarded in six categories: comedy, sit-coms, variety, music, games shows, and arts & specials.

The winner of the 2001 Golden Rose of Montreux was "Lenny Henry in Pieces" by Tiger Aspect Productions. He was up against some stiff opposition. This year was no walkover. I got his photograph, Cult TV got his autograph and UNICEF should benefit from the charity auction later this year.


The People.

Let's now look at the people and, in particular, why I, as a writer, MUST attend this TV event. Where to start?

Making contacts is my main reason for being at the festival. I'm not a producer, I'm not an entertainer. I AM A WRITER. It's my business.

In 1988, I was greener than the gardens that border Lake Geneva. Fortunately, I had help in the form of BSCW members Ken Rock and Barry Reeves. They gave me the best advice anyone could have wanted in those days: buy a bottle of vodka for the Press Secretary.

Fourteen years ago, (freelance) writers didn't fit into any category of participants. We were not on the jury, not producers (or part of a production company such as an entertainer), not observers, and not administrative staff. We were grouped with other writers, namely, "The Press."

This had both positive and negative effects. Having a green (Press) badge, I could attend an interview with Larry Hagman, Sting, Rowan Atkinson, Gregor Fisher, Jimmy Cricket, Dame Edna, go on the Press Outings, go into the various hospitality suites, and walk into any of the Rock Festival events at the Casino.

But it was a time of segregation. These were the competitive days of the broadcasters. And they competed in every way they could! The BBC stayed at the Palace, ITV stayed at the Hyatt, the German TV companies stayed at the Swiss Majestic, the Canadians at the Eden au Lac, etc. We writers stayed at the Parc et Lac with the Belgians, the Bulgarians and the Czechs.

They competed as to who could put on the most lavish of parties. ITV had hot food, the Germans had speeches and cocktails, while the Canadians still have their reception in the open air.

Throw in the Sunday Evening Cruise, the Gala Evening at the Palace and a (free drinks) Happy Hour everyday. You never knew who you would meet. Even in a queue, you could always get a two-minute promotion with one of the many Heads of Light Entertainment. It was boon time for freelancers.

The early nineties, with the coming out of the independents, the changes in ITV and the movement of personnel from the BBC, were lean years for writers and new markets. Non-British markets were the best option. Montreux provided other invitations: it meant eating dumplings in Prague, drinking champagne on the River Volga, coffee at the Bavarian Film Studios, breakfast with RTL, lunch in Malmo, and supper in Copenhagen more times than I can remember. A full day's work for any writer!

Back to Montreux.

In recent years, various companies have grouped together into large organisations that span different countries and languages. I see the same programmes whichever cable channel I choose. It's difficult for writers. When was it easy?

The days of script editors sending out reams of information to people they don't know have gone. Producers want to work with people they know, writers with whom they shaken hands. Producers like to discuss projects face to face, as happened last year at Montreux to the benefit of BSCW members.

There's just too much to do at Montreux. It's intensive. I've learned to be selective. I've learned to become focussed. This year, I went with only one project to sell. I have four people interested and I came back with two more projects to do. These were not idle promises of "Well, send me some samples and I'll look at them." The commissions were definite. The conversations included those three little words: "We will pay."

The Golden Rose stretches either side of a weekend. If you only went for a few days, it would be worth it.

How much will you pay to go to Montreux? There's a standard payment for participation. This year, it was 300 CHF. Everyone pays that fee (which includes everything from the festival, Happy Hours, the Gala Dinner, Boat Cruise, International Comedy Nights, etc). Flights to Geneva (from Britain) are much cheaper than they were fourteen years ago. You will need a hotel. I stay at the Parc et Lac for about £40 B&B. The Cult TV guys tell me they share an apartment for £25 each. Switzerland is not as expensive as you think. If you want to pay more, that's up to you.

Add it all up and it costs you... using fingers and toes... nothing! You are a writer, it's your business; you set it off against your taxes. In effect, you do have to lay out the initial money. For writers, Montreux is an investment. The benefits are enormous.

See you there in 2002!

Ken Basford


This year's Golden Rose festival was also attended by BSCW members and / or associates David Bodycombe, Bart De Becker (D&D Produktions, Belgium), Crispin Fisher, John Gough, Honey Kalaria & Fukhar Islam (Shinobi Films), Cairan Layton, John Lewis, Helge May & Claudia Boderke (Germany), Dale Mulgrew, Ken Rock, Dave Sivers, Gill Smith, Roland Willaert (D&D Produktions, Germany), Ronnie Wolfe and Jurgen Wolff.



YOUR SUCCESSES

ALAN STAFFORD reports that "In April I was a commissioned co-writer of Ned Sherrin's topical monologue on Loose Ends (Radio 4) for two shows. Four of the gags were based on stories from Saturday's papers - written by 9.00 am, recorded by 1.00 pm and broadcast at 6.15 the same day.

"On the day the first Loose Ends went out, I also had two sketches on the Russ Abbot Show (Radio 2). I may well be the first person ever to have written for both Ned Sherrin and Bella Emberg!

"I've also had a sketch and several gags on the current News Huddlines series. As a nice bonus, one of my gags from the first show was also quoted in the radio review column of 'The Stage'."

Alan is not alone in having had gags on this series of the Huddlines. CRISPIN FISHER's name has also been in the credits, and I'm sure more of you haven't yet told me of your successes.

DAVE SIVERS reports that he's been busy working with an agent on his fantasy novel, which may well be creating a totally new genre in itself. He's also somehow found the time to get short-listed in a Writer's News short story competition. Dave's not alone with Writer's News successes, as GILL SMITH has also had a short story short-listed, and had similar succcess in their limerick competition.

DIANA MOORE shares a particularly enjoyable reminder that being a little cheeky can have great success! She writes: "MMM! muffins make a tasty prize...

"I recently faxed a local radio station (Fox FM) in response to their daily offer of a box of muffins to the most deserving company. But... I didn't own or work for a company... so... I created my own:-

" 'Castles in the air unlimited'

"I told how me and the 'team' were painting an old castle tucked away in a remote part of North Oxfordshire - a difficult and demanding task - not many people knew this castle existed... I described our careful application of mystical Aegean blue paint to the walls and how this castle stood out from any example in the British Isles with its decorative arches and turrets of sparkling gold...(how truly proud Wren or Bernini would be..!) I told how we enjoy a tea break and how well muffins would go down with a cup of tea (juice for my young assistant).

"Then... I went on to explain how my young daughter and I were trained in the school of... (wait for it) Art Attack pages 12-15!!! Yes, this sparkling fantasy castle was made from kitchen rolls, loo rolls, papier mache.. and, after all, I did have a kind of company to keep.. looking after my daughter during the Easter holidays!

"So a bit of inventiveness paid off and we received 2 large boxes of delicious muffins delivered to our door."


PLEASE do keep your successes coming in. I'd love to be able to make this a regular feature, and I know that everyone in the BSCW has a lot to be proud of. Encourage everyone by sharing it with the rest of us!



MAKE THE MOST OF YOUR MEMBERSHIP

Have you remembered to book your place on the Situation Comedy Workshop?

Want to write a situation comedy but lack the knowledge to create a script? This workshop will give you the tools to create a professional script in an easy step by step process.

Jurgen Wolff will be tutoring the course, which runs from 7th-8th July, at Regent's College, Regent's Park, London NW1 4NS. Jurgen has written for sitcoms including "Benson" and "Family Ties," and created the animated comedy series, "Norman Normal," which is running in Germany and France. He co-created the German sitcom "Lukas," which ran for 65 episodes. RTL is currently producing the pilot of his new series, "Krista." Jurgen also wrote the feature comedy, "The Real Howard Spitz," which starred Kelsey "Frasier" Grammer. He is the author of "Successful Sitcom Writing," and co-author of "Successful Scriptwriting." He has taught writing workshops at the University of Southern California and for broadcasters and private individuals in the UK, America, Germany, France, Spain, Denmark, South Africa and many other countries.

The workshop is a 2 day intensive course that will take you through the steps necessary to create a script, from creating characters, developing story ideas and writing saleable scripts. Scriptwriting is not purely an inventive process, it also has to be structured. How do you begin? Where do you find characters? How do you introduce plots and sub plots? Through lectures, screenings and practical writing exercises this course will teach you how.

Subjects covered will include:
- Characters
- Storylines
- Plots
- Sub plots
- Dialogue
- Structure

Fees: BSCW Members/Subscribers: £125, OR £110 if booked before 9th June
Non-members: £175, OR £160 if booked before 9th June

Note: Jurgen has kindly allowed us to offer this especially low price for his course, as he is keen to support the BSCW.

Is your BSCW web page selling your skills?

As some of you will have noticed, the BSCW's member web pages have been updated, and you can have a look and see what projects other BSCW members are involved in.

The variety of work - paid and unpaid - that BSCW members are getting up to is always interesting to see. It can help to guide the management team, when interesting projects come up, and producers approach the BSCW, so we know who is interested in what sort of work, and what experience they have. If we don't know what you're up to, we wont know about your talents, and can't tell interested parties that you're the perfect person for them to contact.

So, after that very subtle hint there, I'll be a little more obvious. If you haven't already done it, send us your online CVs - as soon as possible! This is part of your membership entitlement, but only you can make your sales pitch to producers. Send your details to David@bscw.co.uk and we'll make sure they go online as soon as possible.

If you've already sent us details, contact David if you'd like to up-date the information on there. Your membership entitles you to an annual up-date, but more regular changes are on offer for a fee of £10 per thousand words (or part thereof).