Advice

Adaptation

The Pitch is an adaptation challenge and you have plenty of material to choose from in the Bible.

Adaptation can be of a character, verse, events or a story. Jesus often told stories about a teaching he wanted to illustrate. What teaching would you want to turn into a parable or a story?

Below Luke Walton and Pete Sinclair, of The Pitch, talk through the Dos and Donts of adaptation, as well as preparing and pitching.

Part One

DON'T create a carbon copy of what's on the page
DO think about how the text and your story elevate one another
DON'T find something general that could come from anywhere
DO find something specific in the Bible, which connects with something specific you are interested in

Part Two

If you are adapting a story DO think about the core beats in the text. DON'T mess too much with the core DNA of them
If you're adapting a theme DO think about the emotional core or message of the text
DO think about the author, audience and social context of the original text
DO think about the universal human issues that might be involved
DO think about the GENRE of the original text and how the message is presented

Preparing

DO consider what makes you unique as a storyteller
DO think about what bothers you, interests you, excites you and then
DO research where your concerns might connect with a story or theme
DO think about the audience you want the film to connect with
DO look out for ‘Pitch In’ a series of events and if you have any questions contact us
DO Check out the section below about the Budget

Pitching

DO check out the Pitch Archive for examples of past pitching
DON'T worry too much about production value – we are ultimately about story (although we do work in a visual industry)
DO think about how best to tell your story – storyboard, to camera, trailer style
DO think about STORY, ADAPTATION and your VOICE as a filmmaker
DO look at the relevant Ts&Cs so you don't infringe copyright

More on funding: Opportunities and challenges

The Pitch Film Fund has £60,000 to spend making two films – most likely at £30,000 each (though we retain the right to use our discretion if there’s an amazing idea that can be made for £100).

This may seem like a lot of money. And, OK, it is. It’s rare for short films to be funded in this way. But we also insist on crew and cast being paid – which can also be rare.

We don’t want there to be any barrier to entering The Pitch – you don’t have to have made a film before, or understand film production in detail. We do want to give you a rough idea of what the money can cover, though, so that you can try to tailor your story appropriately.

So, here is what the production funding is there to do:

Bring your idea to the screen in a cinema-quality production
Pay everyone on the crew a living wage
Pay the Equity short film rate to the cast
Cover the post-production of the film
Take care of the crew by feeding them well
Pay for kit, rights and permissions, locations, etc, etc.

£30K won’t do everything. If you require one expensive element then you need to consider what you can sacrifice (without it being the wellbeing of cast or crew!). The challenge is to make your adaptation ambitious but achievable.

Here are some pointers for you as you consider creativity and cost in tandem:

Shooting/Filming days: This budget won’t stretch beyond three days except in exceptional circumstances. That is with a crew of around 20 people. You can have a smaller crew, but you may shoot more slowly if you do.
Running time: Think about how to tell your story in 10–12 minutes.
Script length: If you are someone who likes to write a full screenplay before you pitch (though you don’t have to) then consider that one page usually equates to one minute of film time.
Camera, lighting and grips (aka equipment hire): Not the biggest expense (that’s people) but it can cost around £5,000.
Cast: Keep in mind when deciding how many characters you create that it costs at least £250 per day per speaking part (pay, travel, food, accommodation …).
Extras: Remember, even if they’re your mates, they’re not free. Just feeding everyone comes at a price.
Licence for that Beatles track: Sorry, but it’s probably not happening! We do use music, but popular tracks are usually very expensive, unless you have a personal connection.
Locations: Set the story in as few locations as possible. Every location move during a filming day will cost you time, and you only started with three days!
Environment: Actually, it doesn’t cost the earth to do our part to be carbon neutral. You may find that our environmental policy will save money. More importantly, we might just help save the planet.

So, it adds up. But you don’t have to do all the maths yourself! We are here to help with that. It’s just that considering this stuff a bit up front will help you a lot later.

But this section is called ‘opportunities and challenges’ (not just challenges!), so be assured this overview is about informing rather than limiting, and encouraging creativity and originality not stifling them.

Often the most surprising and fresh films come out of deciding what your limits are. Simplicity and clarity are key – and knowing you can’t throw money at a story can really help you achieve them. You need to drill down to the essential elements of your story – finding the pearl in the oyster.

Now you may be thinking of how to pull off a heist and get extra funds for your film. But finding extra cash, even legally, is not something we are encouraging. It would create an uneven playing field, as some people can access cash – due to background or status – where others cannot. If you know of a backer who may want to help fund The Pitch overall, then please do get in touch! But it can’t be simply for one production.

Please remember, as you read all of this, that you are not alone. The producers at Reel Issues Films – and the organisers of The Pitch – are here to work alongside you. We have a great deal of experience in making short films and will help you every step of the way.