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Imagine you had a germ of an idea about a world. | 0:00:02 | 0:00:05 | |
Its inhabitants, | 0:00:05 | 0:00:06 | |
their lives, their triumphs, their struggles, their stories. | 0:00:06 | 0:00:10 | |
Imagine that your idea grew and grew and one day exploded into life, | 0:00:10 | 0:00:14 | |
hitting living rooms everywhere, | 0:00:14 | 0:00:16 | |
captivating audiences of up to 30 million viewers for 27 years. | 0:00:16 | 0:00:21 | |
I'm going to take you on a step-by-step guide | 0:00:21 | 0:00:23 | |
of how to write for Walford, | 0:00:23 | 0:00:25 | |
from creating characters and a world | 0:00:25 | 0:00:27 | |
to making your words leap off the page and onto TV screens everywhere. | 0:00:27 | 0:00:32 | |
Here at EastEnders we've all had our share of cracking storylines. | 0:00:38 | 0:00:43 | |
I'm going to let the writers, directors and actors | 0:00:43 | 0:00:46 | |
let you in on their secrets. | 0:00:46 | 0:00:48 | |
First up, what makes a gripping story? | 0:00:48 | 0:00:50 | |
I think the first thing about a great story is a great character. | 0:00:54 | 0:00:58 | |
They say that character is action, character is drama and it's true. | 0:00:58 | 0:01:02 | |
-This doesn't hurt? -No. | 0:01:02 | 0:01:04 | |
You just put two really good characters in a room... | 0:01:04 | 0:01:06 | |
-Don't need to see a doctor? -No. | 0:01:06 | 0:01:08 | |
..and you have drama, instantly. | 0:01:08 | 0:01:10 | |
-One more. -OK, what do you want? | 0:01:10 | 0:01:13 | |
It's emotional content at the end of the day that really counts. | 0:01:13 | 0:01:16 | |
It's not events. | 0:01:16 | 0:01:18 | |
Where you are moved are the things that you remember for ever. | 0:01:18 | 0:01:21 | |
You have to fall in love with your character | 0:01:22 | 0:01:24 | |
to care about what happens to them and what they're going to do. | 0:01:24 | 0:01:28 | |
Without a connection to the character, | 0:01:28 | 0:01:29 | |
it won't matter what they do - | 0:01:29 | 0:01:30 | |
hanging off a cliff edge, you won't care. | 0:01:30 | 0:01:32 | |
If you don't care about them, again, the story's dead. | 0:01:32 | 0:01:35 | |
C'mere! | 0:01:35 | 0:01:36 | |
So what are the other elements of great drama? | 0:01:36 | 0:01:39 | |
Characters need a desire, which they pursue, | 0:01:39 | 0:01:41 | |
that's what a story is - a character pursuing a goal. | 0:01:41 | 0:01:43 | |
No! | 0:01:43 | 0:01:45 | |
MAN CHASING YELLS Get out of the way! | 0:01:46 | 0:01:49 | |
The essence of a story is a character in pursuit of a goal, | 0:01:49 | 0:01:52 | |
overcoming obstacles to try and achieve it. | 0:01:52 | 0:01:54 | |
-Where is it? -I already told you, I don't have it. | 0:01:54 | 0:01:56 | |
Don't lie to me, I know you're lying. | 0:01:56 | 0:01:58 | |
All drama's got to have a good amount of conflict. | 0:01:58 | 0:02:01 | |
-Get out the way. -Out the way! -Come on. Looking for a fight? | 0:02:02 | 0:02:05 | |
All right, all right. | 0:02:05 | 0:02:07 | |
'They may be obstacles of circumstance, they may be an antagonist,' | 0:02:07 | 0:02:10 | |
someone who wants that person not to get that goal. | 0:02:10 | 0:02:13 | |
It can be all kinds of things. | 0:02:13 | 0:02:15 | |
Didn't I never tell ya? You don't...hit...girls. | 0:02:15 | 0:02:20 | |
Throughout this documentary, | 0:02:22 | 0:02:24 | |
we'll be joining EastEnders writer Daisy Coulam. | 0:02:24 | 0:02:28 | |
She's kept a video diary of her experiences. | 0:02:28 | 0:02:30 | |
She has 14 days in which to complete her scripts. | 0:02:30 | 0:02:33 | |
Hello, my name's Daisy. I'm a writer for EastEnders | 0:02:35 | 0:02:38 | |
and this is my video diary. | 0:02:38 | 0:02:40 | |
I'm presently writing two scripts. | 0:02:40 | 0:02:43 | |
I'm sending them in...this morning. | 0:02:43 | 0:02:46 | |
Three weeks ago, I got a document called the storyline document | 0:02:46 | 0:02:49 | |
which...is this. | 0:02:49 | 0:02:52 | |
Hopefully, you can't read it cos it's top-secret. | 0:02:52 | 0:02:54 | |
So I've taken these, this storyline, we've had a meeting | 0:02:54 | 0:02:57 | |
and then I've had three weeks to write that up into episodes. | 0:02:57 | 0:03:02 | |
I think this is the most nerve-racking point because... | 0:03:02 | 0:03:05 | |
..I basically won't hear from them for a week now. | 0:03:06 | 0:03:09 | |
Fingers crossed that they like it. OK, bye. | 0:03:09 | 0:03:12 | |
The BBC has defended the baby swap storyline | 0:03:14 | 0:03:17 | |
in the Christmas EastEnders | 0:03:17 | 0:03:18 | |
following nearly 6,000 complaints from viewers. | 0:03:18 | 0:03:21 | |
One of our most famous storylines definitely got the nation talking. | 0:03:21 | 0:03:24 | |
Love it or hate it, | 0:03:24 | 0:03:26 | |
it's a brilliant example of what makes a compelling story. | 0:03:26 | 0:03:29 | |
'The great thing about the baby swap storyline was | 0:03:29 | 0:03:31 | |
'it was pitched in a room' | 0:03:31 | 0:03:33 | |
of 30 professionals say, | 0:03:33 | 0:03:34 | |
and everyone fell silent for about ten seconds | 0:03:34 | 0:03:37 | |
and a lot of people were thinking of ways not to make it happen | 0:03:37 | 0:03:41 | |
and I was sitting there going, | 0:03:41 | 0:03:42 | |
"You've got to make this happen, cos this is talk-about TV. | 0:03:42 | 0:03:45 | |
"This is the TV that divides the sofa." | 0:03:45 | 0:03:47 | |
'The only person it could happen to | 0:03:51 | 0:03:53 | |
'in the history of EastEnders, I think, is Ronnie Mitchell.' | 0:03:53 | 0:03:56 | |
At 14 or 15 she had to give away a child, | 0:03:56 | 0:03:59 | |
her dad Archie made her do that. | 0:03:59 | 0:04:01 | |
She later found that child | 0:04:01 | 0:04:03 | |
only to have the poor kid run over in front of her eyes. | 0:04:03 | 0:04:06 | |
She then got pregnant, her dad pushed her, she had a miscarriage. | 0:04:06 | 0:04:10 | |
She's always been a mother figure to her sister Roxy | 0:04:10 | 0:04:14 | |
'so there's obviously something about her that says, | 0:04:14 | 0:04:17 | |
'"I just want to be a mum."' | 0:04:17 | 0:04:19 | |
And finally, we gave her that baby, and we thought, "Happy ever after?" | 0:04:19 | 0:04:23 | |
Absolutely not. | 0:04:23 | 0:04:24 | |
'Ronnie was a tough character to crack | 0:04:26 | 0:04:28 | |
'and I felt she needed a push over the edge | 0:04:28 | 0:04:30 | |
'and she got that push and it led her to do something' | 0:04:30 | 0:04:33 | |
really bad | 0:04:33 | 0:04:34 | |
but I empathised and I understood, | 0:04:34 | 0:04:36 | |
and the fact that I emphasised with her | 0:04:36 | 0:04:38 | |
shows that she was written perfectly. | 0:04:38 | 0:04:39 | |
The one person that could do a baby swap story | 0:04:39 | 0:04:42 | |
'is sadly, Ronnie Mitchell | 0:04:42 | 0:04:43 | |
'and that's three or four years of planning' | 0:04:43 | 0:04:46 | |
that comes about in a fantastic moment. | 0:04:46 | 0:04:49 | |
You will find the roots of pretty much every story in fairy tales, | 0:04:52 | 0:04:56 | |
if you look closely enough. | 0:04:56 | 0:04:58 | |
The best advice I give to anybody - | 0:05:02 | 0:05:03 | |
apart from read Shakespeare - is read fairy tales | 0:05:03 | 0:05:06 | |
because that stuff is the lifeblood of all storytelling. | 0:05:06 | 0:05:10 | |
And it's very, very easy to transpose Jack And The Beanstalk | 0:05:12 | 0:05:16 | |
into a tale of drug dealing in Hackney if you put your mind to it. | 0:05:16 | 0:05:21 | |
And it's an exercise I give writers I train all the time, | 0:05:21 | 0:05:24 | |
let's go back to, I give them each a fairy tale, | 0:05:24 | 0:05:27 | |
and say, "OK, your job over the next few weeks | 0:05:27 | 0:05:29 | |
"is to turn this into a modern-day story." | 0:05:29 | 0:05:32 | |
Jack And The Giant Beanstalk? | 0:05:32 | 0:05:33 | |
I mean, basically, he goes up, murders a giant, | 0:05:33 | 0:05:35 | |
steals a golden thing, comes back and he's a hero. | 0:05:35 | 0:05:39 | |
I mean, that... That's twisted, isn't it? | 0:05:39 | 0:05:41 | |
So if you put that into EastEnders I'm sure that'd be Derek. | 0:05:41 | 0:05:45 | |
So, OK. | 0:05:50 | 0:05:51 | |
I think I was lying before | 0:05:51 | 0:05:53 | |
when I said that the most nerve-racking bit | 0:05:53 | 0:05:56 | |
is sending your script in. | 0:05:56 | 0:05:58 | |
I now think the most nerve-racking bit is getting notes, | 0:05:58 | 0:06:01 | |
so I'm just going to open the e-mail. | 0:06:01 | 0:06:04 | |
If you've got seven or eight pages of notes then you start worrying | 0:06:04 | 0:06:08 | |
cos you think, "Oh, God, they don't like it very much!" | 0:06:08 | 0:06:11 | |
So I judge it on length and also... | 0:06:11 | 0:06:14 | |
Oh, we'll see. We'll just have a look. | 0:06:16 | 0:06:19 | |
Compelling storylines kept EastEnders at the forefront | 0:06:21 | 0:06:24 | |
of essential serial drama on TV, | 0:06:24 | 0:06:27 | |
but that wasn't enough. | 0:06:27 | 0:06:29 | |
EastEnders didn't feel like home to me, | 0:06:29 | 0:06:31 | |
it didn't feel like it was in the same area. | 0:06:31 | 0:06:33 | |
This neighbourhood has gone to pot! | 0:06:33 | 0:06:35 | |
I felt that it was a bit old, a bit older than us. | 0:06:35 | 0:06:38 | |
Even though they had a few young characters, | 0:06:38 | 0:06:41 | |
I still felt my mum loves this more than I do | 0:06:41 | 0:06:43 | |
and my mum lives here and I don't. | 0:06:43 | 0:06:45 | |
So the BBC decided to create something new. | 0:06:45 | 0:06:48 | |
E20 is an online drama series centred around four young people | 0:06:56 | 0:06:59 | |
seeking shelter in Walford. | 0:06:59 | 0:07:01 | |
E20 was a great idea to try and give access to our series | 0:07:01 | 0:07:05 | |
to a much younger audience | 0:07:05 | 0:07:07 | |
and to also try and reflect what's happening actually in London | 0:07:07 | 0:07:10 | |
or the East End right now. | 0:07:10 | 0:07:12 | |
Suddenly, that becomes a huge opportunity for fun | 0:07:12 | 0:07:15 | |
so we join a group of characters who don't know who Peggy Mitchell is, | 0:07:15 | 0:07:18 | |
or don't know who Ian Beale is. | 0:07:18 | 0:07:20 | |
It's an opportunity to see those characters through fresh eyes. | 0:07:20 | 0:07:24 | |
Any world you create must be authentic, | 0:07:24 | 0:07:27 | |
so how did the E20 scriptwriters ensure this? | 0:07:27 | 0:07:29 | |
I think there's a stereotype with youth in London | 0:07:30 | 0:07:33 | |
where it's got to be knives or guns or it's not good or it's not real. | 0:07:33 | 0:07:36 | |
But as someone who's lived in the East End for...15 years, | 0:07:36 | 0:07:41 | |
I've never in my life seen someone get shot or get stabbed. | 0:07:41 | 0:07:45 | |
We're kids who have problems with boys and girls and food. | 0:07:45 | 0:07:49 | |
You know, there's more to being young in London | 0:07:49 | 0:07:51 | |
than crime and violence. | 0:07:51 | 0:07:53 | |
It's all about writing what you know. | 0:07:53 | 0:07:55 | |
So get out there and experience that world. Go on, go! | 0:07:55 | 0:07:59 | |
'I think you've got to be an observer, | 0:07:59 | 0:08:01 | |
'to be able to watch people without looking scary or evil, | 0:08:01 | 0:08:03 | |
'to watch people and just understand the reasons behind someone doing something.' | 0:08:03 | 0:08:08 | |
'I'm not from the East End.' | 0:08:08 | 0:08:09 | |
'We were so sly, we went around Stratford...' | 0:08:09 | 0:08:11 | |
'And around the East End...' | 0:08:11 | 0:08:13 | |
'And listened in on people like spies, it was cool...! | 0:08:13 | 0:08:16 | |
'But sometimes when you're writing you forget what's real.' | 0:08:16 | 0:08:18 | |
'And just the stuff which you'd get was amazing. | 0:08:18 | 0:08:21 | |
'There was a guy handing out Bible leaflets, | 0:08:21 | 0:08:23 | |
'another guy with Koran leaflets' | 0:08:23 | 0:08:25 | |
and they were having a full-on argument. | 0:08:25 | 0:08:27 | |
It's not a conscious thing, | 0:08:27 | 0:08:28 | |
when you're out and you're talking to people you log everything | 0:08:28 | 0:08:32 | |
'and you find yourself sitting | 0:08:32 | 0:08:34 | |
'and you might not have an idea or anywhere to start with a script' | 0:08:34 | 0:08:37 | |
and then you remember just a little spark of a joke someone told you | 0:08:37 | 0:08:40 | |
or a funny conversation you overheard on the bus or something, | 0:08:40 | 0:08:44 | |
and then that can be it and you're off. | 0:08:44 | 0:08:46 | |
Knowing the world you've created | 0:08:46 | 0:08:48 | |
helps you develop the characters who belong there. | 0:08:48 | 0:08:50 | |
For me, creating a believable world it's always, like... | 0:08:50 | 0:08:53 | |
it's got to come from somewhere truthful | 0:08:53 | 0:08:56 | |
and nowhere's more truthful than like, the people I know. | 0:08:56 | 0:08:59 | |
A big inspiration is my family and friends, the people I grew up with. | 0:08:59 | 0:09:05 | |
I tend to always write about them. | 0:09:05 | 0:09:08 | |
I've got a massive family | 0:09:08 | 0:09:11 | |
that's really colourful and slightly different | 0:09:11 | 0:09:14 | |
and I draw on them so much for inspiration, for ideas. | 0:09:14 | 0:09:19 | |
And then it's about using your own creativity | 0:09:19 | 0:09:22 | |
to take elements of people you see or things you see | 0:09:22 | 0:09:25 | |
and put them together to create something new. | 0:09:25 | 0:09:28 | |
For experiences you don't know, like, | 0:09:30 | 0:09:33 | |
running into a new house in Walford, | 0:09:33 | 0:09:34 | |
but you know the feeling of like, loneliness, isolation, | 0:09:34 | 0:09:38 | |
being somewhere where you just want to find somewhere to stay | 0:09:38 | 0:09:41 | |
so you take those experiences and... | 0:09:41 | 0:09:44 | |
jiggle them up a bit and put them into your characters. | 0:09:44 | 0:09:47 | |
We rejoin Daisy as she receives her notes from her script editor. | 0:09:51 | 0:09:55 | |
I'm not going to show you cos you'll see the storylines I'm doing | 0:09:55 | 0:10:00 | |
and that's top-secret! | 0:10:00 | 0:10:01 | |
OK, so...how many pages? | 0:10:01 | 0:10:05 | |
Six pages, not too bad for two scripts. | 0:10:06 | 0:10:10 | |
The main notes I've had are about... | 0:10:10 | 0:10:13 | |
Sometimes we've got some new characters | 0:10:13 | 0:10:16 | |
and it's about getting into that character's... | 0:10:16 | 0:10:19 | |
Finding their voice, | 0:10:19 | 0:10:20 | |
sometimes I haven't captured their voice properly. | 0:10:20 | 0:10:23 | |
Sometimes it's quite hard... When a character's got a journey | 0:10:23 | 0:10:25 | |
that's very internal and very emotional | 0:10:25 | 0:10:28 | |
and they're not talking about it necessarily, | 0:10:28 | 0:10:32 | |
sometimes it's quite hard to get that across on the screen. | 0:10:32 | 0:10:35 | |
So some of my stories, | 0:10:35 | 0:10:37 | |
people weren't clear what the characters' actual stories were. | 0:10:37 | 0:10:40 | |
Basically, the next week or so will be me writing, | 0:10:40 | 0:10:43 | |
sitting on my own, | 0:10:43 | 0:10:45 | |
going a bit crazy, generally... | 0:10:45 | 0:10:47 | |
You'll be part of that, lucky you! OK, cheers. | 0:10:47 | 0:10:51 | |
Before you start writing you have to know your characters inside out. | 0:10:56 | 0:10:59 | |
I think some people do walk around the room, pretending to be the character. | 0:10:59 | 0:11:03 | |
Do you know who I am, bruv? I am Faith. D'ya get me? | 0:11:03 | 0:11:06 | |
So you pretended to be all, "Wah, gwan" and gangsta. | 0:11:06 | 0:11:08 | |
Tameka, he blatantly stuck an Armani sticker where it said Primark. | 0:11:08 | 0:11:12 | |
You don't know about me! I'm a G, you know what I mean? | 0:11:12 | 0:11:15 | |
I don't really kind of do that. | 0:11:15 | 0:11:16 | |
However you do it, just get inside your character's head. | 0:11:16 | 0:11:20 | |
They can't dress themselves, they can't say words for themselves | 0:11:20 | 0:11:23 | |
without you knowing where they are at any given time in their heads | 0:11:23 | 0:11:26 | |
and what their attitude to a person or situation would be. | 0:11:26 | 0:11:29 | |
The more you know, the better really. | 0:11:29 | 0:11:31 | |
When I first started out one of the things I learnt very quickly | 0:11:31 | 0:11:35 | |
is that I'd written a scene where Phil Mitchell - | 0:11:35 | 0:11:39 | |
who was quite a bit younger then - | 0:11:39 | 0:11:41 | |
was supposed to be ironing. | 0:11:41 | 0:11:42 | |
And I got this message from the set and it was just three words, | 0:11:43 | 0:11:47 | |
"Phil don't iron". | 0:11:47 | 0:11:48 | |
You try and stitch me up, you even think about it... | 0:11:48 | 0:11:51 | |
and I'll kill you. | 0:11:51 | 0:11:53 | |
And I thought, "Really? He doesn't iron?" "No, he don't do that." | 0:11:53 | 0:11:56 | |
But I've just written it and everyone's OKed it. | 0:11:56 | 0:11:59 | |
They go, "No, Phil don't iron." The actor said, "Phil don't iron." | 0:11:59 | 0:12:02 | |
So every time I write Phil Mitchell in the back of my mind, | 0:12:02 | 0:12:05 | |
I've got this, "Phil don't iron." | 0:12:05 | 0:12:07 | |
Knowing your character's traits helps you decide | 0:12:09 | 0:12:12 | |
what they would and wouldn't do. | 0:12:12 | 0:12:14 | |
Take Faith, what's she like? | 0:12:14 | 0:12:16 | |
Bear, checking me out and that. | 0:12:16 | 0:12:18 | |
Faith is a diva. | 0:12:18 | 0:12:19 | |
Yo! T-dot-nico! | 0:12:19 | 0:12:22 | |
Faith is that girl at the back of the bus that everyone knows. | 0:12:22 | 0:12:25 | |
You'll never take me alive! | 0:12:25 | 0:12:27 | |
The kind of girl that Faith is with her big hair... | 0:12:27 | 0:12:29 | |
'She's brash, bright, breezy...' | 0:12:29 | 0:12:31 | |
'With Faith she's loud, annoying.' | 0:12:31 | 0:12:33 | |
I know girls who are loud and annoying but you love them for it. | 0:12:33 | 0:12:35 | |
Want to jump on my wave? Yeah, daddy-o. | 0:12:35 | 0:12:38 | |
She's the life and soul of the day. | 0:12:38 | 0:12:40 | |
All showered for you, babe! So when we linking? | 0:12:40 | 0:12:42 | |
'She has no real idea what she's saying to people' | 0:12:42 | 0:12:45 | |
or what she's doing to people. | 0:12:45 | 0:12:47 | |
Is that the Walford Gazette? I want to speak to a journalist. | 0:12:47 | 0:12:50 | |
She needs love. | 0:12:50 | 0:12:51 | |
She needs to be told, "Faith, I love you. | 0:12:51 | 0:12:53 | |
"You're gorgeous without make-up and without the horrible clothes! | 0:12:53 | 0:12:56 | |
"You're beautiful." She needs affection. | 0:12:56 | 0:12:58 | |
-FAITH SIGHS -Faith, go have a shower. | 0:12:58 | 0:13:02 | |
You go have a shower. | 0:13:02 | 0:13:04 | |
I don't need it. | 0:13:04 | 0:13:05 | |
In the E20 episode written by Wemmy, Faith tries it on with Donnie. | 0:13:05 | 0:13:08 | |
She needs to be loved, so there's only one thing for it. | 0:13:08 | 0:13:12 | |
FAITH SCREAMS | 0:13:12 | 0:13:14 | |
There's no hot water in the squat | 0:13:14 | 0:13:15 | |
and Faith's not the type of girl to put up with a cold shower. | 0:13:15 | 0:13:18 | |
She'll do everything in her power to avoid having that, | 0:13:18 | 0:13:22 | |
even going to Fatboy. | 0:13:22 | 0:13:24 | |
You got a shower in here, yeah? | 0:13:24 | 0:13:25 | |
'Who is no way involved in the situation at all' | 0:13:25 | 0:13:27 | |
but he's got a crush on her so she plays on that. | 0:13:27 | 0:13:30 | |
Hoo-ooh-ooh-ooh! | 0:13:33 | 0:13:35 | |
Faith is selfish, so she plays on his love for her | 0:13:35 | 0:13:38 | |
and uses him for a shower, | 0:13:38 | 0:13:40 | |
which she does feel bad about because she has a conscience. | 0:13:40 | 0:13:42 | |
All of this, so you could use me for a shower? | 0:13:42 | 0:13:45 | |
It's a dirty exchange. | 0:13:47 | 0:13:48 | |
'She felt horrible after that' | 0:13:51 | 0:13:53 | |
but she went through a huge mistake to finally say, | 0:13:53 | 0:13:55 | |
"I'm better than this. | 0:13:55 | 0:13:56 | |
"I'm crazy but I'm a good person at the same time." | 0:13:56 | 0:13:59 | |
So, today I'm starting writing, | 0:14:02 | 0:14:06 | |
when I take my first draft and rewrite it. | 0:14:06 | 0:14:10 | |
OK, so... I've been working... It's now nearly two o'clock. | 0:14:11 | 0:14:16 | |
I'm doing all right. | 0:14:18 | 0:14:19 | |
I think one of the main problems I'm struggling with is, | 0:14:19 | 0:14:22 | |
there's a new character and I can't seem to get her voice at all. | 0:14:22 | 0:14:26 | |
I'll let you know how it goes. | 0:14:26 | 0:14:29 | |
Believable characters have distinct voices | 0:14:32 | 0:14:35 | |
and when it comes to the language of the East End, | 0:14:35 | 0:14:37 | |
there's only one king...Fatboy. | 0:14:37 | 0:14:40 | |
Not me, player. I'm free as the wind. | 0:14:40 | 0:14:41 | |
What was important to me about E20 | 0:14:41 | 0:14:43 | |
was that the characters spoke as teenagers would speak | 0:14:43 | 0:14:46 | |
in the East End of London. | 0:14:46 | 0:14:47 | |
I didn't know much about the character of Fatboy | 0:14:47 | 0:14:49 | |
when I got the call, | 0:14:49 | 0:14:51 | |
I just knew he was a young boy | 0:14:51 | 0:14:54 | |
and he'd have a bit of slang in his repertoire, | 0:14:54 | 0:14:57 | |
so when I got to the reading for Fatboy | 0:14:57 | 0:15:00 | |
it was just that, a raw script. | 0:15:00 | 0:15:02 | |
When we created Fatboy, we really wanted someone to celebrate | 0:15:02 | 0:15:07 | |
the language of the street. | 0:15:07 | 0:15:09 | |
Only as I started to read Fatboy's lines and his lyrics and flow | 0:15:09 | 0:15:14 | |
that I started to get into it and find the rhythms of Fatboy, | 0:15:14 | 0:15:18 | |
cos Fatboy's all about rhythms you know, everything he does | 0:15:18 | 0:15:21 | |
is almost like a rap or a song, | 0:15:21 | 0:15:23 | |
"Wah gwan, baby girl, how you doin', man? You all right? | 0:15:23 | 0:15:26 | |
"I'll come, we do this ting, two twos, this this, that that." | 0:15:26 | 0:15:29 | |
You know, it's all a big flow and he's always on a hype | 0:15:29 | 0:15:32 | |
and he's always got a lot of energy, so I found that whilst reading it. | 0:15:32 | 0:15:35 | |
Yes, but how do you keep the dialogue authentic? | 0:15:35 | 0:15:37 | |
You'll just hear stuff on the street. | 0:15:37 | 0:15:40 | |
"Bait" - which means obvious. | 0:15:40 | 0:15:41 | |
"Lush" - which is really good-looking. | 0:15:41 | 0:15:44 | |
And if I'm writing him, | 0:15:44 | 0:15:45 | |
'I sneak a look at my kids' Facebook pages' | 0:15:45 | 0:15:47 | |
where they speak this strange language anyway. | 0:15:47 | 0:15:50 | |
"Vex" - which Fatboy says a lot, which means angry. | 0:15:50 | 0:15:53 | |
It's all about balance, | 0:15:53 | 0:15:55 | |
some writers will put too much slang in, some too little. | 0:15:55 | 0:15:58 | |
"Grimy" is not a good word any more for good | 0:15:58 | 0:16:00 | |
and "butters" still means ugly. | 0:16:00 | 0:16:03 | |
I've grown up listening to it, speaking it | 0:16:03 | 0:16:05 | |
and being in and around it. | 0:16:05 | 0:16:06 | |
I know many Fatboys, many, many Fatboys, | 0:16:06 | 0:16:09 | |
so sometimes I feel like I'm saying his words before he even says it. | 0:16:09 | 0:16:12 | |
Before it's even written, I know what he's going to say. | 0:16:12 | 0:16:15 | |
I think what happened over time, once the writers had created Fatboy, | 0:16:15 | 0:16:18 | |
they just started making up their own language anyway, | 0:16:18 | 0:16:20 | |
but there's a joy to that that makes it very exciting. | 0:16:20 | 0:16:23 | |
I said to them, I'll only be happy if I understand one word in five | 0:16:23 | 0:16:27 | |
and that's pretty much the ratio. | 0:16:27 | 0:16:30 | |
It doesn't almost matter that you don't understand | 0:16:30 | 0:16:33 | |
exactly what he's saying | 0:16:33 | 0:16:35 | |
and how the other actors react to him | 0:16:35 | 0:16:39 | |
actually shows us what he's talking about. | 0:16:39 | 0:16:42 | |
But your characters have got to have more than just the right language. | 0:16:42 | 0:16:46 | |
He's quite a wheeler-dealer, thinks he's a real romantic | 0:16:46 | 0:16:49 | |
but underneath, you can see that... | 0:16:49 | 0:16:51 | |
I think he falls in love quite easily. | 0:16:51 | 0:16:54 | |
-Must have your sights on someone? -Nah, mate. No-one. Nah, man. | 0:16:54 | 0:16:58 | |
You all right, Merce? | 0:17:00 | 0:17:02 | |
Fatboy wants to be the coolest kid on the block. | 0:17:02 | 0:17:04 | |
And what he needs to do is accept that he's not, he's Arthur... | 0:17:04 | 0:17:07 | |
That always gives you a story. | 0:17:09 | 0:17:11 | |
All yours for 350 green! | 0:17:11 | 0:17:13 | |
Biggest thing that Fatboy wants is success and respect. | 0:17:13 | 0:17:18 | |
What he needs? What he needs is different. | 0:17:18 | 0:17:21 | |
What he needs is somebody to look after him a little bit. | 0:17:21 | 0:17:25 | |
What he needs is somebody that wants to squeeze him | 0:17:25 | 0:17:27 | |
at the end of the day. | 0:17:27 | 0:17:28 | |
A character only works if the audience loves them too. | 0:17:28 | 0:17:32 | |
In simple terms, the audience have to love your characters. | 0:17:32 | 0:17:35 | |
If they don't, they just won't watch | 0:17:35 | 0:17:37 | |
and that's what we call empathy, | 0:17:37 | 0:17:39 | |
which is the ability for an audience to get inside a character's head | 0:17:39 | 0:17:44 | |
and share their thoughts and go on a journey with them. | 0:17:44 | 0:17:47 | |
But when Fatboy made the transition from E20 to EastEnders, | 0:17:47 | 0:17:50 | |
the audience didn't like him. | 0:17:50 | 0:17:53 | |
When any character's introduced into EastEnders, | 0:17:53 | 0:17:56 | |
there's normally a period of three or four months | 0:17:56 | 0:17:58 | |
where the audience are distrustful or nervous of them. | 0:17:58 | 0:18:01 | |
We thought there was a great actor there, | 0:18:01 | 0:18:04 | |
we thought there was something going on that was exciting to watch, | 0:18:04 | 0:18:07 | |
and all of a sudden we put him with Dot Cotton, | 0:18:07 | 0:18:11 | |
one of our most-loved, if not the most-loved character of all time. | 0:18:11 | 0:18:15 | |
Hey, Mrs B! | 0:18:15 | 0:18:16 | |
One of your friends, Arthur? | 0:18:16 | 0:18:18 | |
Friend, friend? No, no, she is...she's a Mormon. | 0:18:18 | 0:18:23 | |
Well, your acquaintances usually aren't dressed like that. | 0:18:23 | 0:18:26 | |
He interacts in our world and in a really good way | 0:18:26 | 0:18:29 | |
because you're just thinking, | 0:18:29 | 0:18:31 | |
"That's Dot Cotton and she likes him, so I guess we could like him too." | 0:18:31 | 0:18:35 | |
So, I think... | 0:18:35 | 0:18:37 | |
from his point of view, | 0:18:37 | 0:18:38 | |
his character is formed | 0:18:38 | 0:18:40 | |
by the way he became invaluable to someone's life. | 0:18:40 | 0:18:45 | |
Now, I need your help, Arthur to peel the potatoes, | 0:18:45 | 0:18:48 | |
cos I'm making me dumplings for one of me beef stews. | 0:18:48 | 0:18:51 | |
Oh, right, Mrs B. | 0:18:51 | 0:18:53 | |
He is, you know, ghetto, but he's friends with old ladies, | 0:18:53 | 0:18:58 | |
so you know he's got the most genuine side ever. | 0:18:58 | 0:19:00 | |
No, don't get me wrong, I'm happy, it's just that... | 0:19:00 | 0:19:04 | |
You want to spread your wings? | 0:19:04 | 0:19:06 | |
Yeah. | 0:19:06 | 0:19:07 | |
He is a man who wears his heart on his sleeve. | 0:19:11 | 0:19:15 | |
Thank you, Mrs B. | 0:19:15 | 0:19:17 | |
And you see it on his face, the vulnerability, | 0:19:18 | 0:19:22 | |
even though he tries to disguise it and tries to be a man about it. | 0:19:22 | 0:19:26 | |
So I think that's why the audience love him. | 0:19:26 | 0:19:29 | |
Let us see who your character really is. | 0:19:29 | 0:19:33 | |
When I look at the page, yes, the words of course are important | 0:19:33 | 0:19:37 | |
but what is important to me is what is that scene there for? | 0:19:37 | 0:19:40 | |
I do want to go to Paris with you. | 0:19:40 | 0:19:42 | |
No, you don't. | 0:19:42 | 0:19:43 | |
Why have I been put in there, what is my objective? | 0:19:43 | 0:19:46 | |
-Kiss me. -What? Why? | 0:19:46 | 0:19:49 | |
What must I affect to make the next thing happen in the next scene? | 0:19:49 | 0:19:53 | |
The scripts themselves have to be read on two levels. | 0:19:54 | 0:19:58 | |
You have to see the superficial dialogue, | 0:19:58 | 0:20:02 | |
the dialogue that the characters say to each other | 0:20:02 | 0:20:05 | |
is written in a way | 0:20:05 | 0:20:08 | |
that implies the subtext beneath. | 0:20:08 | 0:20:12 | |
I've tried so hard but every time I kiss you | 0:20:12 | 0:20:15 | |
it's like... | 0:20:15 | 0:20:17 | |
..kissing my best mate, my closest friend. | 0:20:18 | 0:20:22 | |
Subtext is really important to Fatboy. | 0:20:26 | 0:20:28 | |
In fact, I think it's... | 0:20:28 | 0:20:31 | |
one of the words that defines Fatboy. | 0:20:31 | 0:20:34 | |
His clothes - they're all bright and all very loud | 0:20:34 | 0:20:38 | |
and they all say something | 0:20:38 | 0:20:40 | |
and that's part of the mask - | 0:20:40 | 0:20:42 | |
you see that before you see Fatboy's real heart and stuff like that, | 0:20:42 | 0:20:45 | |
he doesn't let you in, really. | 0:20:45 | 0:20:47 | |
Can't hold the Fats down for long. | 0:20:47 | 0:20:49 | |
Like funky house, ain't it? Bounce, bb-dd-bb-bounce, with it! | 0:20:49 | 0:20:52 | |
That is one of the things that makes you so great. | 0:20:52 | 0:20:55 | |
Sometimes he's just like, "Fatboy, get off the TV," you know. | 0:20:55 | 0:20:58 | |
"Come on, be yourself," | 0:20:58 | 0:20:59 | |
but that's what it is with boys, sometimes there's a facade | 0:20:59 | 0:21:02 | |
and Fatboy is the prime example of that. | 0:21:02 | 0:21:04 | |
Oh, yeah, interesting. | 0:21:04 | 0:21:05 | |
I got to go you know, cos main line are calling me. | 0:21:05 | 0:21:08 | |
What...? Phil? | 0:21:08 | 0:21:10 | |
OK, listen, I will be back at some point but you know me, man... | 0:21:10 | 0:21:13 | |
OK, I'm going to get fined, now I have to go. | 0:21:13 | 0:21:16 | |
Daisy's script deadline is fast approaching. The pressure is on. | 0:21:16 | 0:21:20 | |
So how is she coping? | 0:21:20 | 0:21:22 | |
Sometimes it's quite nice to come out and just do a bit of gardening. | 0:21:22 | 0:21:26 | |
Try and keep my mind working. | 0:21:26 | 0:21:29 | |
So it's a couple of days before deadline day | 0:21:29 | 0:21:33 | |
and I've done what I tend to do at this time, | 0:21:33 | 0:21:36 | |
which is...have a day off. | 0:21:36 | 0:21:39 | |
I really should have worked today but instead I've done a crossword, | 0:21:39 | 0:21:42 | |
I've watched a load of telly and chatted to some friends. | 0:21:42 | 0:21:47 | |
Sometimes your brain... | 0:21:47 | 0:21:50 | |
It just doesn't... | 0:21:50 | 0:21:52 | |
It can't keep going, it can't keep being creative at a certain rate. | 0:21:52 | 0:21:55 | |
So tomorrow I'm going to have to work extra, extra hard. | 0:21:55 | 0:21:59 | |
Think I'm going to have to get up really early, so... | 0:22:01 | 0:22:04 | |
That's about it, really. | 0:22:04 | 0:22:06 | |
So now your head is bursting with a great story, | 0:22:10 | 0:22:12 | |
an authentic world and believable characters. | 0:22:12 | 0:22:15 | |
How do you turn all those ideas into a great script? | 0:22:15 | 0:22:19 | |
Now, don't get offended | 0:22:21 | 0:22:24 | |
but dialogue is often the least important part of your script. | 0:22:24 | 0:22:27 | |
Pictures speak loud | 0:22:27 | 0:22:29 | |
and sometimes more pictures, less words are a very good idea. | 0:22:29 | 0:22:33 | |
When I write my first drafts of my scripts | 0:22:33 | 0:22:35 | |
I always do it only in what the character does | 0:22:35 | 0:22:38 | |
rather than what the text is | 0:22:38 | 0:22:40 | |
and it just removes everything else which you don't need | 0:22:40 | 0:22:43 | |
and then you end up with three or four lines of dialogue in a scene | 0:22:43 | 0:22:45 | |
but it's all that they need to say. | 0:22:45 | 0:22:47 | |
I think when you're writing a script you're always thinking in images. | 0:22:47 | 0:22:51 | |
I always think of a script as like a series of photos on a wall. | 0:22:51 | 0:22:54 | |
So you can strip all the dialogue away | 0:22:54 | 0:22:56 | |
and you could say, right, you're going to have 30 seconds, | 0:22:56 | 0:22:59 | |
we're not allowed any dialogue, it's a 30 second episode, | 0:22:59 | 0:23:02 | |
how would you tell it? | 0:23:02 | 0:23:03 | |
You'd just put ten images on a wall and that would be the story. | 0:23:03 | 0:23:07 | |
In the scripts that I've responded to the most, | 0:23:07 | 0:23:09 | |
it has been with the sparsest dialogue | 0:23:09 | 0:23:13 | |
and the clearest stage directions. | 0:23:13 | 0:23:16 | |
But really there's only one way to judge a script. | 0:23:16 | 0:23:19 | |
Basically, the best thing to look for in a script | 0:23:19 | 0:23:21 | |
is that at the end of every page you want to turn the next one. | 0:23:21 | 0:23:24 | |
It's as simple as that. | 0:23:24 | 0:23:26 | |
One example of a gripping script was the Who Killed Archie live episode, | 0:23:26 | 0:23:31 | |
written by Simon Ashdown. | 0:23:31 | 0:23:33 | |
This was Event TV. | 0:23:33 | 0:23:36 | |
Tonight, for the very first time we'll be able to watch events | 0:23:36 | 0:23:39 | |
as they actually unfold, | 0:23:39 | 0:23:41 | |
as they broadcast a 25th anniversary special. | 0:23:41 | 0:23:44 | |
Bradley, where are you? There's police everywhere, they just saw me. | 0:23:45 | 0:23:49 | |
For me, it's always really about that final image, | 0:23:49 | 0:23:52 | |
it's that image and the image I just had, that came into my head | 0:23:52 | 0:23:56 | |
was Stacey in that street with Max, saying that she did it | 0:23:56 | 0:24:00 | |
'and what made it powerful | 0:24:00 | 0:24:02 | |
'was that there was Bradley, lying on the tarmac, dead.' | 0:24:02 | 0:24:05 | |
-Bradley didn't do it. -I know. | 0:24:05 | 0:24:07 | |
-He didn't do it. -I know he didn't do it. | 0:24:07 | 0:24:10 | |
It was me. | 0:24:10 | 0:24:12 | |
(I did it). | 0:24:14 | 0:24:16 | |
I killed Archie. | 0:24:16 | 0:24:18 | |
It was me. | 0:24:20 | 0:24:22 | |
Doof, doof, doof, doof-doof-dd-da-da... | 0:24:22 | 0:24:24 | |
The "doof-doof" is the big cliffhanger | 0:24:24 | 0:24:26 | |
at the end of each episode, ensuring the audience returns for more. | 0:24:26 | 0:24:30 | |
The big "doof-doof" moment in Who Killed Archie | 0:24:30 | 0:24:33 | |
is basically Stacey revealing to us that she's the killer of Archie. | 0:24:33 | 0:24:39 | |
This is like answering a question | 0:24:39 | 0:24:41 | |
that we've been asking for the last two or three months. | 0:24:41 | 0:24:44 | |
But the thing about that "doof-doof," | 0:24:44 | 0:24:46 | |
although you think it's an ending, it's not | 0:24:46 | 0:24:49 | |
because she's just admitted to murdering someone | 0:24:49 | 0:24:51 | |
and it's not very often that people do that, | 0:24:51 | 0:24:55 | |
so now you're thinking, "You've just admitted to murdering someone, | 0:24:55 | 0:24:58 | |
"the man you love more than life itself has died at your feet, | 0:24:58 | 0:25:02 | |
"what the hell is going to happen next?" | 0:25:02 | 0:25:05 | |
So even though we brought that to a conclusion, | 0:25:05 | 0:25:08 | |
it opened up a whole massive sea of questions. | 0:25:08 | 0:25:12 | |
The "doof-doof" moment for Daisy is fast approaching. | 0:25:15 | 0:25:17 | |
OK, it's 7.30 in the morning, it's deadline day again. | 0:25:17 | 0:25:22 | |
I've done the first script, I'm partway through the second one. | 0:25:22 | 0:25:26 | |
I've got a lot to do today so I really need to crack on. | 0:25:26 | 0:25:30 | |
So, it's a few hours till deadline... | 0:25:30 | 0:25:33 | |
I'm getting a little bit panicky that I've got too much to do, | 0:25:34 | 0:25:37 | |
but I think I'm getting there. | 0:25:37 | 0:25:39 | |
OK. | 0:25:39 | 0:25:40 | |
I think if you want to get into scriptwriting, | 0:25:44 | 0:25:47 | |
it's such an accessible thing | 0:25:47 | 0:25:48 | |
because all you need is a pen and paper. | 0:25:48 | 0:25:51 | |
It's really good to try and write something you really want to write. | 0:25:51 | 0:25:55 | |
It's really tempting to try and second-guess what everybody wants. | 0:25:55 | 0:25:58 | |
Find out your voice, what you want to say, what makes you different | 0:25:58 | 0:26:02 | |
and stick with it and eventually - | 0:26:02 | 0:26:04 | |
it might be hard, it might take a while - | 0:26:04 | 0:26:06 | |
but eventually you'll find someone who wants that and agrees with that | 0:26:06 | 0:26:09 | |
and then it will be beautiful. | 0:26:09 | 0:26:11 | |
Write as many scripts as you can, look over them, work on them | 0:26:11 | 0:26:14 | |
and when you feel they are at a good level, | 0:26:14 | 0:26:17 | |
show them to people who you know will give you honest feedback | 0:26:17 | 0:26:20 | |
then maybe send a couple off to theatres, | 0:26:20 | 0:26:22 | |
which accept unsolicited scripts. | 0:26:22 | 0:26:23 | |
If there is a show you genuinely love... | 0:26:23 | 0:26:25 | |
..try and get your work to that show, | 0:26:26 | 0:26:28 | |
and then don't take no for an answer, just keep going at it. | 0:26:28 | 0:26:31 | |
The BBC Writersroom reads every script it receives. | 0:26:31 | 0:26:35 | |
'If you've got drive, a little spark, and something different... | 0:26:35 | 0:26:38 | |
'Not everyone's going to make it, you still need to be really talented' | 0:26:38 | 0:26:43 | |
but if you're good enough, someone will open a door and let you in. | 0:26:43 | 0:26:46 | |
Once you're in there, you have to kick and scream and fight. | 0:26:46 | 0:26:49 | |
One major tip I would give to scriptwriters, | 0:26:49 | 0:26:52 | |
playwrights, anything, but being an actor, yes, | 0:26:52 | 0:26:55 | |
is to write everything down. | 0:26:55 | 0:26:57 | |
These are my sort of, books - essentially, like, my mind on paper. | 0:26:57 | 0:27:03 | |
I love notebooks. I think everyone should write in notebooks | 0:27:03 | 0:27:06 | |
when they see an idea they want to use in a script. | 0:27:06 | 0:27:08 | |
I think sometimes, writing it down imprints... | 0:27:08 | 0:27:10 | |
For me, when I study, I have to write or it won't go in. | 0:27:10 | 0:27:13 | |
I think there's a misconception that to work in television - | 0:27:13 | 0:27:17 | |
especially as a writer or in films - | 0:27:17 | 0:27:19 | |
you have to have a film degree or a media degree | 0:27:19 | 0:27:22 | |
or have had lots of experience | 0:27:22 | 0:27:24 | |
and I left school at 15, went straight into work. | 0:27:24 | 0:27:28 | |
I happened to see an advert for storyliner at Emmerdale, | 0:27:28 | 0:27:33 | |
so I sent a ridiculous ransom note into the producers of Emmerdale, | 0:27:33 | 0:27:37 | |
saying that I wanted Cain Dingle to come and rescue me | 0:27:37 | 0:27:41 | |
from a kidnapping | 0:27:41 | 0:27:43 | |
and for some reason they liked it | 0:27:43 | 0:27:45 | |
and that was the start of me working in television. | 0:27:45 | 0:27:48 | |
And the payoff of sticking at it until someone likes your script? | 0:27:48 | 0:27:51 | |
When I saw my episode on the web AND on the big screen on my TV, | 0:27:51 | 0:27:55 | |
I was like, "Oh...my...days!" Three words, that's all I said. | 0:27:55 | 0:27:59 | |
I didn't speak for the whole day, just, "Oh...my...days!" | 0:27:59 | 0:28:03 | |
This little chap came from an episode of Stay Lucky | 0:28:03 | 0:28:06 | |
that was broadcast in 1992, I believe. | 0:28:06 | 0:28:09 | |
He's the only memento I've ever kept from filming. | 0:28:09 | 0:28:13 | |
He sits on my desk every day, looking at me and I think, | 0:28:13 | 0:28:16 | |
"You know what? There's the beauty of television." | 0:28:16 | 0:28:19 | |
I wrote this frog, I created this frog and there he sits. | 0:28:19 | 0:28:22 | |
That's... That's my only memento cos I think he's fantastic. I love him. | 0:28:22 | 0:28:27 | |
He brings me luck. | 0:28:27 | 0:28:29 | |
End of episode, that's my second draft done. | 0:28:32 | 0:28:36 | |
I'll go through the same process as exactly as I've just done, | 0:28:36 | 0:28:38 | |
two or three more times, hopefully less and less notes each time, | 0:28:38 | 0:28:41 | |
but in the meantime, thank you for joining me. | 0:28:41 | 0:28:45 | |
So that's it, that's the end. | 0:28:45 | 0:28:47 | |
So, everything you've seen or heard came from a germ of an idea | 0:28:49 | 0:28:52 | |
and now it's your turn. | 0:28:52 | 0:28:54 | |
So, yeah, be adaptable and be true and good luck to you. | 0:28:54 | 0:29:00 | |
Fatboy...gone! | 0:29:00 | 0:29:04 | |
Subtitles by Red Bee Media Ltd | 0:29:08 | 0:29:10 |