In this issue:

- Ken Basford's thoughts on Montreux 2002
- Ronnie Wolfe on British Success at Montreux
- Paul Roff on the Melbourne Comedy Festival
- Website Recommendations
- Appraising your Sitcoms
- David Renwick Talk
- Attention Jacques Vermeire Writers!
- Your Successes
 

MONTREUX - NO BUZZ, BUT PLENTY OF BUSINESS
By Ken Basford

(Ken is keen to explain that these are his personal thoughts, so any acclaim or blame can only be attributed to him. Do let us know whether you agree, on the general forum.)

Usually, you can tell who will be the winners of the Montreux Roses by the "buzz" that seems to develop as the festival runs its course. This year, I didn't hear that sound. That was my fault, I should have been socializing in the Black Pearl instead of on the boat trip. The winner of the Golden Rose was "Pop Idol," a Thames TV co-production with 19TV for ITV. The programme featured in the Variety Category of the competition.

David Liddiment (ITV) was quoted as saying, "I'm hugely enthusiastic about mass-market entertainment programming..." and "... at ITV, we try to find places in the schedule that are protected, to give comedy shows the chance to grow and develop."

Of the 33 entries in the two categories of Sitcom and Comedy, 16 of them came from Britain. Los Dos Bros (Channel 4) took the Sitcom honours, but SVT Sweden with "HippHipp!" was voted the best comedy entry. It was a 'broken comedy' show. French and Saunders were awarded an Honorary Golden Rose. I got a photograph of Jennifer Saunders - one of the few that did.

There were many changes to the festival this year. Most were good. Some of them need time to be accepted. Change is always difficult and building on previous successes is a Herculean task.

It seemed to me that there was more emphasis on business this year, rather than on the competition. Each day, there were two discussions/conferences: top executives met at midday, the master classes late in the afternoon.

The BSCW's David Bodycombe was the speaker on Thursday. He launched his new book, "How to Devise a Games Show" and was quizzed at some depth by Pat Ferns, President of the Banff Festival. I decided to buy the book, then, hearing the price, decided not to. Then, giving it some thought (such as where else can I buy or read such a book) changed my mind again and ordered a copy. When I get to read it, I'll write a review in this magazine. Knowing that David is a specialist in this field and recognising (being jealous of) his track record, the book must reveal the professional I know he is. Watch this space!

For me as a writer, the festival is essentially about people and making contacts. I wasn't alone (though I was the only person to attend from Lithuania). I counted eleven BSCW members (or associates) there. There were also supporters of the BSCW such as Distraction Formats, John Gough, Chris Fuller, Roland Willaert, Cult TV, and Welsh (Speaking) TV. Add to that the encouragement of the Canadian Broadcasting Company, Winni Gahlen and Ingvar Ernblad (SVT) to name but a few of those people who cannot exist without the assistance of writers.

I've learned to be focussed since there is so much to do at the Golden Rose. This year I went to meet just one person. We were able to sit down and talk for two days together. That's all the time he had to spare. He gave it all to me. He even ignored his wife! But I did recommend a romantic restaurant where they could rally together. We'll see what happens. It looks positive.

Apart from focussing on my specific goal, I got an invitation to take part in a festival in Britain (expenses paid and nice to come home and I get to meet Marks and Gran), and another to have lunch and discussions with an executive contact in London (nothing specific, but such invitations are not to be ignored). Last week I was in Volgograd (Don't ask! It was a business disaster, but an experience to learn from). In July I will meet with Belgian TV and next year will be back in the BSCW's European Office, the White Horse in Montreux.

This year was a crucial year. Switzerland is not cheap for an adopted Lithuanian. Why should I go to Montreux? Had I become tired with the festival? I don't photograph the mountains anymore, as they don't seem to change. I have to question the outlay versus income. My living is made from writing. Is Montreux the right place to be?

I thought of going to the Banff TV Festival, of giving the Golden Chest or Golden Antenna a go once more or even to seemingly expensive (I've never been) Cannes. Experience has told me that executives are more likely to buy from writers that they know rather than speculative scripts that drop through their letterbox.

I took advice from people (Ronnie Wolfe, for example) I knew had been to other festivals. Every person I asked came up with one or two answers: the Golden Rose of Montreux is the friendliest festival or, Montreux is the best of festivals. I will be there next year. It's a must attend event. Will you be there?

See you all at the Birmingham BSCW Conference in November!
 

BRITS COME UP ROSES
by Ronnie Wolfe

(article reproduced from 'The Stage' magazine, by kind permission of Ronnie Wolfe.)

Rose d-Or Festival chief executive Georges Luks has fulfilled his promise to provide a bigger, better and broader event in its 42nd year.

One of the highlights of the festival was an outstanding conference line-up, with a look into the future by ITV director of programming David Liddiment.

"I am hugely enthusiastic about the future of mass market programming," Liddiment said. "Today's viewers are looking for instant gratification. They are surfing for a moment that grabs their attention. To be successful ITV needs something for everyone some of the time."

ITV, of course, has struggled in the ratings recently. Liddiment admitted that comedy was a problem.

"We try to find slots in the schedule that are protected to give comedy shows a chance to grow and develop but the BBC is better placed to take on the responsibility of nurturing talent," he said.

Nevertheless, he is likely to provoke a reaction from the Corporation with his assertion that drama is ITV's trump card and the claim the network heads "regard our-selves as the UK market leader in drama".

Another highlight of the conference line-up was Rupees From Heaven - a special event looking at the opportunities in the Indian entertainment industry. One member of the panel, BBC Worldwide's Monisha Shah fascinated delegates with clips of the Indian version of Yes Minister. These specially edited clips showed short scenes from the original English series followed by the same scene performed by Indian actors in their own language. A brilliant example of format acquisition.

The Brits, as usual, did well in the awards. The first crucial stage was in March this year when the pre-selection jury met in Bern. This year the job was more difficult than ever before, with almost 300 programmes entered from 25 different countries. Out of the 88shows nominated, 36 were British.

The various juries aim to give awards to shows that renew and different. The Kumar's at No 42 was awarded the Bronze Rose for comedy. Silver Rose for comedy went to Swedish TV for Hipp Hipp- a fast-paced satirical show with emphasis on vivid regular characters and strong ideas. Among others, we got to know Ashmed - host of the most popular consumer show in Iraq - and a foreign correspondent giving his views on third world poverty from his five-star hotel.

I was surprised that The Sketch Show, produced by Avalon/Baby Cow for ITV1, did not get an award or at least a special mention. True, the idea of a sketch show is hardly new but the content of this one stood out as new, original and very funny.

Bronze Rose for sitcoms went to Penguin Films of Capetown for Madam and Eve. This show takes humorous look at the unique relationship between a middle-aged white woman and her young, vivacious black housekeeper - and 'domestic executive' as she prefers tube called - as they reach out to each other in the new South Africa.

This sitcom aims to show South Africans the absurdities of. Separateness whilst keeping the audiences laughing. Madam and Eve is more than anything else a comedy of hope and reconciliation.

Channel 4's Los DOS Bros- from WHO?, the makers of the award-winning Smack the Pony - won the sitcom Silver Rose. Meanwhile the Press Prize this year went to another British comedy, 2DTV. The topical animated ITVI comedy show, which uses the latest in computer technology to produce sketches on the week's news.

In the game show category, Britain's Tiger Aspect won the Silver Rose for Oblivious and Channel 4 took the Bronze for Make My Day. One could hardly call them genuine game shows, however, as the contestants did not know that they were taking part. Everything was done by hidden cameras and secret filming.

In Make My Day, the contestant (or victim) is secretly filmed while they experience the weirdest 24 hours of their lives. How they react to these situations determines the prize they win in the end.

In the episode shown at Montreux, the victim was a girl who worked at a travel agency who had to deal with a series of weird customers. For example a doddering old man of about 90 staggered in with his buxom young bride and asked advice on booking honeymoon holiday.

Then, out of the blue, our girl (who had ambitions to be a dancer) received a call asking her to go to an audition in her lunch break. Then came a lift from boyfriend who stopped in remote spot to buy drugs from a dealer, followed by the arrival of the police. The dealer was put in handcuffs, our girl was 'arrested' and then all was revealed.

ITV1's Oblivious is the game show with the contestants oblivious to the fact that they are taking part. This studio-based show is presented competently by Davina McCall. Each instalment surprised some members of the 300-strong studio audience and revealed them as big-money winners. Unbeknown to them they have already been 'stung' by the Oblivious team at some point in the last seven days.

What I found puzzling -and not properly explained -was how the victims were lured into the studio audience. It bothered me but not the jury and the show was duly awarded the Silver Rose.

In the variety category, bronze went to Channel 4's multi-award-winning series So Graham Norton.

The Perfect Match, another Channel 4 success, won the silver award for best variety show. While it is not Blind Date, this is a dating show where family and friends find the perfect partner for the contestants who then have to live with them for a month. From 50 potential suitors, a panel which included a relationship counsellor, mother/father and a best friend or ex-lover select the subject's ideal partner. Will romance blossom? Over the month we find out.

One of the changes made by Georges Luks is that the big night of The Rose d'Or, the awards ceremony, is now on a Saturday night instead of the Monday or Tuesday as previously - a popular change welcomed by delegates.

The big prize, the Golden Rose 2002, went to Thames TV's Pop idol. This was awarded by the Grand Jury, comprising of the heads of althea other juries, with Peter Bennett-Jones of Tiger Aspect as chairman.

Presenting the award Bennett-Jones said the musical talent search, which amassed huge audiences in the UK, amounted to perfect television and great entertainment. It was a worthy winner.

The awards night ended with the prestigious Rose d'Or Honneur (Honorary Golden Rose) which was won by French and Saunders. Jennifer Saunders was thereto accept the award. There were no Hollywood Oscar-type sobs, no endless lists of 'thank-yous'.

Immaculately attired and the perfect English lady, Saunders' acceptance speech was brilliant, witty, beautifully timed and delighted the audience. This lady has class and she gave a most elegant touch to the last night of the Montreux festival.

IS AUSTRALIAN COMEDY BETTER THAN THEIR BEER?
By Paul Roff

Paul attended the 16th Melbourne International Comedy Festival, from 28th March - 21st April 2002. This is what he has to say about it.

Being a five-year Edinburgh Festival veteran, I felt I should do something a little different in 2002. As I was already planning a trip to Australia, Melbourne was the obvious choice.

Now in it's 16th year, the Melbourne International Comedy Festival has grown almost 400% in terms of artists and attendance since it's grass roots start in 1987. Attracting nearly 2000 performers and over 350,000 patrons, it ranks only behind Edinburgh and Montreal in the world.

How does it compare to Edinburgh? Well, I could trade-in my walking boots and raincoat for shorts and sunglasses for a start. While there are fewer venues, they have larger individual capacities meaning that regimented queuing is rarely required. As Melbourne is solely a professional comedy festival rather than general arts fringe, the city is charged with a serious sense of fun rather than being full of mistaken students believing a combination of Shakespeare and hi-tech is original.

The hard-copy programme was published just in time for the festival and the associated website lacked detail until the same time. That meant I booked tickets online against title only - if the performer's name was not in the title, I was blind. Thankfully, enough names rang a bell to book a show for each day I was there.

First off was Adelaide boy Adam Hills with his show named Happy Feet, the title borrowed from a song used to cheer up a depressed 1930s America. Adam felt the world needed something similar after September 11th. He did not make light of it, but told how he found out about it while waiting in an airport for his own flight and invited the audience to share their related stories.

The second reason behind the title came from Adam's false right foot he has needed since birth. He described how uncomfortable adults were discussing it, but kids would point and ask questions without a care.

While neither topic sounds funny on paper, they were in Adam's masterful hands. He is a very natural performer, at ease with handling the audience and comes over a very nice bloke.

I returned to the same venue, The Hi-Fi Bar and Ballroom, the next evening to see Al Murray, Pub Landlord. I've seen his stand-up and sitcom recordings in the UK, so was fascinated to see how he would tweak the character for the Aussie market. He didn't. In fact, Pub Landlord came in to his own, taking a rise out of Aussie heritage, making it quite clear they still owed everything to the Brits.

The Pub Landlord could be misinterpreted in the same way as Alf Garnett used to be. The humour is not in sharing the opinions, but laughing at the out-dated bigotry and narrow mindedness. As the character is so much larger than life, it's hard to mistake the spoof and the audience took to him quickly. And let's not forget the chicken drumsticks raffled off in honour of the late Queen Mother before the rendition of "God Save YOUR Queen".

While Al Murray was easily accepted Down Under, Cyderdelic had a tougher time of it. Their satire of everything anti-globalist, anti-capitalist and environmentally-friendly relied upon too many UK references. The show uses a lot of pre-recorded video and songs that needed explanation - storming The Richard and Judy Show means nothing to your average Australian.

The trio have a real talent as their Edinburgh success reflects, but they will have to adapt their material to each local market or make it more general if they want international acclaim. Personally, I really enjoyed it and felt proud to be part of the impromptu road protest after the show.

After two nights of UK performers, it was time for more local talent, and who better than festival stalwarts, the Scared Weird Little Guys at the Assembly Hall. Comedy songs form 80% of their act, ranging from completely original compositions through to Prince's Kiss performed in any style the audience could name.

One ditty used the old "every other line could end in a rude word, but it doesn't" trick. In an entertaining, though predictable, twist the last verse ended up a complete swear-fest.

Their musical talent is unquestionable, but their attempts at banter seemed a little uneasy. Thankfully, talk was kept to a minimum leaving the focus on guitars, banjos and lolly whistles. Their fusion of Little Miss Muffet and Survivor left an impression - I found myself singing Eye of The Spider when the original came on the radio that night.

The following evening, it was time for another Aussie double-act, The Umbilical Brothers at the Athenaeon Theatre. While established on the Oz comedy circuit with a certain international following, I knew little about them. I vaguely remembered them beating each other senseless on a Tarrant on TV-style ad program, so I anticipated a physical and audience-ridiculing act.

I thought I would be safely near the back as my ticket said row BB. Not so. In some strange seat labelling fiasco, BB was at the front - aarrgh! To my great relief, the 'bilicals avoid banter, friendly or scathing, so I left unhurt.

Their act was a number of tightly choreographed sketches with Dave performing all the sound effects for partner Shane's actions. However, a rogue remote control interrupted the flow by suddenly fast-forwarding or rewinding the show, and occasionally switching to the porn channel.

Personal highlights were a German mime parody and flipping each other the bird in the style of audience-selected sports - rowing a particular delight to behold. Their unique approach made a refreshing change from typical review and stand-up formats.

My last show was a chance selection at the Town Hall. The online programme showed the day had few shows to offer. In Edinburgh, that means awards night - most acts take the night off in case of nomination. The listings mentioned Upfront 8, which sounded like a competition final and was only on this one night. However, to my surprise, it was Melbourne's 8th annual Upfront show, showcasing 20 comediennes and filmed by ABC for broadcast later in the week.

Our host, Libbi Gorr, made me fear the show would be all about male bashing and women's genitals. Thankfully, she was the only one who stuck to Jenny Eclair's School of Limited Material.

The acts ranged from the surreal Ethel Chop, through the songs of the Sheryls and the Subrettes to the excellent stand-up of Fiona O'Loughlin and Janet A McLeod. Some performances fell flat as the artists were not comediennes by trade or the material was little too off-beat for the audience. Thankfully, with 20 routines to stage, the director kept the weaker ones mercifully short.

I must say that I enjoyed having my Melbourne Festival cherry plucked. In truth, comparing it to Edinburgh is unfair as it has neither the same history nor brief. What it did do was teach me a little about how to take comedy to the other side of the world and that no-one in Melbourne would be seen dead drinking Fosters.

www.comedyfestival.com.au
Melbourne.citysearch.com.au

 

WEBSITES WORTH A LOOK

In case any of you haven't yet discovered it, a very helpful website for comedy news is Chortle: www.chortle.co.uk. Steve, who runs the site, makes sure he keeps fully up to date with everything that is going on in the comedy business, although his focus is firmly on stand-up. However, he also attends meetings, and shares sitcom news.

A particularly useful article can be found on Chortle at the moment: http://www.chortle.co.uk/TV/tvfeatures/write.html. This article sums up the expert advice offered at a recent meeting run by the Writers' Guild of Great Britain, at BAFTA's headquarters. For more information - read the article!

Ciaran Layton used the forum to recommend this site: www.writing.org.uk. It has "some useful advice on writing and submitting sitcoms amongst other things. Interviews with Bob Larbey, Robin Kelly and Matthew Carless all make informative reading."

Giles Osbourne suggests this: "a very useful free downloadable for a month script-helper is www.cul.co.uk/software/index.htm"

 

APPRAISING YOUR SITCOMS

A BSCW Member recently offered me, and all members / subscribers her appraisal form for analysing your sitcoms. It's a very helpful checklist to make you think about everything from your structure to introducing your characters. She's happy to make this available to everyone in the BSCW. To get your copy, just e-mail me at gill@bscw.co.uk with 'sitcom appraisal' in the subject line, and I'll e-mail it back to you. If anyone else has useful writing tools like this, that they're prepared to share, do send me a copy, and I'll let everyone know what's available.

DAVID RENWICK TALK
(From member Tony Kirwood)

BSCW members may like to know that the one and only David Renwick is giving a talk at Player-Playwrights on Monday 17 June. I don't think a specific subject has been firmed up, but no doubt there will some focus on how to write the most memorable sitcom and character of a decade, of which I'm told the speaker has some experience. This should be one of the events of the year.

Also on the bill is a reading of "White Taxis", an extremely funny sitcom by Mark Crumpler, who is a highly talented writer deserving of success. I say this with feeling, as Mark and I are now collaborating, and I'm helping him with a few rewrites of this episode.

Player-Playwrights meet upstairs at the Horse & Groom, 128 Great Portland St (Oxford Circus tube) at 7.30 pm.

Hope to see some of you there.

 

ATTENTION JACQUES VERMEIRE WRITERS!

Ken Rock had this e-mail from Jacques Vermeire's producer, Bart De Becker:

Dear Ken

VTM - the tv-channel which broadcast the first three series of the 'Jacques Vermeire Show' - may be interested in purchasing the world rights to quickies used in the Jacques Vermeire Show for which only the Belgian rights have been bought so far. (For a number of the quickies for the show - you will remember - world rights have been purchased by D&D Germany.)

Could you ask all BSCW-members who have sold quickies for the 'Jacques Vermeire Show' to D&D Belgium to check their own contracts with D&D Belgium to see for which of the quickies the world rights are still available? Could you send us a list of these and could you let us know if you are interested in selling the world rights to VTM?

Thank you very much.

Greetings to all BSCW-members!

Kind regards Bart.

As I told you, I have my vacation, but if need be you can reach me on my mobile: 0032 479 96 00 29. Producer Nick Cassier's direct number is 0032 2 266 81 59. His mobile: 0032 476 39 52 85.

The e-mail-address to which the BSCW-members can send the information is ncassier@ddeg.be. Our faxnumber still is 0032 2 266 81 82, our general phonenumber: 0032 2 266 8181.

We hope this works out at some extra income for a lot of you!

 

YOUR SUCCESSES

Tony Kirwood also lists a success, with the Player-Playwrights competition: "I did win the P-P short play prize this spring with a sword and sorcery spoof. A small amount of kudos, perhaps, but sadly no escudos!"

Mary Payne tells us "I'm pleased to report that an item by me on the subject of terrible song titles, appears on page 3 of June/July's Writing Magazine. Unlike a previous occasion, this time they've managed to include my name!"

Trevor Walker wrote to say "just to let you know that I have sold to the latest series of 'The Right Time'."

Giles Osbourne tells us "I have got a credit. A review of the book YOUR MEMORY, a users guide by Alan Baddeley Prion, published in paper back 15 Feb 2002. My review is in Pendulum, the Magazine of the Manic Depressive Association."

Alan Stafford reports "I've had several gags on the current series of Radio 2's 'Parsons & Naylor's Pull-Out Sections.' Although the show is fairly packed with commissioned writers, the producer was interested enough in my stuff to invite me along to the recording of the first show. Both Andy Parsons and Henry Naylor were friendly and encouraging to me and seemed very aware of the bits I'd written. Although they recorded masses of material, my three bits still made it through the edit of the first show. The show's recorded in the Drill Hall - a much groovier venue than Broadcasting House (there's a bar, and you can even take your booze into the auditorium ... what would Lord Reith say?!). I've also had a sketch shortlisted for later in the series - fingers crossed!)"

Alan also kindly shared another member's success with us: "Member Keith Lindsay (who spoke at BSCW's Networking Day) and his writing partner Martin Tomms will have their comedy drama 'Perfect Days' broadcast on Radio 4 at 11.30 a.m. on Friday 7th June. The thirty minute play stars John Griffin and Terence Mann as two divorced fathers with weekend access to their children who form a small self-help group ... of two! This drama is also featured in the prestigious editor's choice column of the Radio Times."

Further BSCW news is that the Market Information will be going on the site twice during the month. The aim is to put it on site on 8th and 22nd of each month. This means there will be less each time, but this is designed to avoid any going out of date.

Don't forget to send your successes to gill@bscw.co.uk. Please also send any reviews of books, sitcoms, meetings you've attended, or courses you've been on to me. I'd also appreciate your website recommendations to share - just tell us where a site can be found, and what you like about it, and send that to gill@bscw.co.uk.