Page 14 - Fujifilm Exposure_12 The Golden Bowl_ok

THE WRITE STUFF
“The Script Is The Key” - Project director Jill James reports on the life and times of TAPS, the unique scheme for training television and film writers
On December 3 1999, TAPS - Television Arts Performance Showcase - celebrated its 100th showcased writer at its annual Awards held at BAFTA. This was a remarkable achievement for a project set up just seven years ago. TAPS was born in 1993, at the time of the new ITV licence awards and the closure on eco- nomic grounds of the BBC’s script unit. New writers then had no central point to submit their work to, sending an unsolicited script to any broadcaster was likely to see it returned unread.
Ewart Needham, then managing director of Teddington Studios, produc- er/ director Michael Custance and myself had a conversation which lead to the for- mation of TAPS organisation. All of us in our separate ways were bemoaning the high price the industry was paying, to the Government, to stay in business.
It was obvious that staffing and training were going to be sacrificed on the alter of profitability and we were concerned that our industry would lose the creative excellence for which Britain had become justifiably recognised world-wide. We decided that here was an area of support and training that was desperately needed both by writers and industry alike, plus an opportunity to put something back into the industry, providing inexpensive training to writ- ers that was not elitist.
Thanks to the foresight and support of Teddington Studios, TAPS was given a home with the encouragement of Thames TV chief executive Richard Dunn. We then recruited an Artistic and Management Board and launched TAPS at the Television Show of 1993, calling for scripts and sponsorship.
July 1993 saw the pilot showcase presented at Teddington Studios with two new writers, Julian Perkins and Martin Sadofski. Attended by an invited audience of some 80 directors, produc- ers, script Editors and development executives, the showcase was a great success and the feedback encouraged
the TAPS board to conclude that the for- mat was a successful one.
To be eligible for a TAPS showcase, writers must be British and have had less than two hours of network televi- sion transmitted. These still are the only submission conditions of a scheme which endeavours to be as open as possible in terms of social inclusion. In its six seasons, TAPS has drawn writers from all walks of life and socio-economic backgrounds.
The writers workshop showcase format developed by TAPS, is for our panel of readers to evaluate the hun- dreds of scripts submitted and short- list for showcase. We then select 45 minute extracts for full length scripts, 30 minutes for sit coms or 10 minute shorts and have them professionally cast and directed as rehearsed blocked readings in a television studio with a minimal amount of sound , lighting, props, scenery etc., the result being recorded on video tape.
In this way, the invited audience see what is in effect a pilot, the tapes are used for screenings plus the writer gets a showreel to send out to prospective commissioners. The success of the for- mat has been proved by the speed which writers have received commis- sions, 50% in our first season alone.
TAPS writers are now lead writers on many television series as well as developing their own projects. By 1999, the success rate was up to 85% with our writers working on top British television drama programmes such as The Bill, Coronation Street, Peak Practice, Eastenders, Where the Heart is, Taggart, The Lakes, Emmerdale, Dangerfield, London’s Burning, London Bridge, Casualty, The Vice, Ballykissangel, Family Affairs and This Life. The latter also brought the writing team a Bafta and Writers Guild of Great Britain Award.
Whilst the TAPS programme was developing at Teddington there was demand from regional producers to be able to access the new talent, so TAPS
responded with screenings in Glasgow and Manchester. Following discussions with the Northern Ireland Film Commission, the Roadshow format expanded to include a two day writers workshop with over 60 writers attend- ing the event held in Belfast. This led to the establishment of a three day Roadshow Writers Workshop plus show- case, the first hosted by Liverpool John Moores University, in July 1998.
In 1999, similar three day events were held in Cardiff, Birmingham and Yorkshire. In the past 18 months these workshop events have enabled 120 writers to receive professional training plus 25 writers have had their work showcased. Our first London work- shop, a two day event, was held in July 1999 with over 800 applicants for the 30 places available. All of our work- shop training would not have been possible without funding from the Skillset Freelance Training Fund and Regional Organisations.
Comedy has not been forgotten. With over 300 applicants in 1998, TAPS held a pilot showcase to promote three new comedy writers. Introduced by Laurence Marks and Maurice Gran, the pilot showcase was well received by an industry eager for new comedy writing talent and all three writers quickly gained commissions. Last year saw TAPS present a double comedy weekend with two comedy dramas being present- ed on the Saturday plus three situation comedies on the Sunday. Having started quietly with just six showcases in London a year, TAPS has grown quickly in stature and by result.
It is the only national independent scheme supporting new writers for television and has become pre-eminent in this area. However, many of the scripts that we showcase are screen plays, as a result, five feature films have been scripted by our writers, the most recent House! (see page 11) to be released next month. Despite the fact that over the last two years many film companies now make regular use of
TAPS, assistance has not been forth- coming directly from the film industry.
Our scheme supports the whole industry and in particular gives new writers training, hope and direction for their careers. The organisation acts like a godparent, finding agents, suggesting writers to broadcasters and programme makers, generally giving pastoral care plus support to writers during a diffi- cult period of their lives. We are con- stantly seeking to introduce new writ- ers training initiatives reflecting the needs of both writers and the industry. Our current TAPS Board firmly believe that our work is vital to the industry. The script is the key, without good scripts, we have nothing.
TAPS is a charity and company limit- ed by guarantee so that all the money raised from sponsors is channelled into work to help the new writers. In its seven years of operation, TAPS has raised over £1 million in cash plus facili- ties and services in kind to run the training programmes. Over 100 new writers have been provided to an ever eager television and film industry.
TAPS is extremely grateful to all the sponsors, including Fujifilm, over the years for their financial assistance plus many other organisations and individuals for their help in kind. Money, however, remains the key to unlocking this talent.
Whilst TAPS has been highly suc- cessful, it still has to rely on raising funding on a year by year basis to keep going, which is totally impractical. TAPS has struggled for the past two years, lobbying the government plus the broadcasters, who are the main benefi- ciaries of the TAPS scheme, that they should provide the principal finance to run the organisation.
Some progress has been made, but it has to be understood that unless TAPS is able to get more long term com- mitted funding then we may have to accept the innings over with 100 on the scoreboard. However those who have crossed my path will be aware that I fight for what I believe in with a passion.
Photos from left: TAPS first musical, Wild Thing, by Rikki Beadle Blair; Writers Workshop Showcase at Teddington Studios in July 99 with Sam Snade; a cake to celebrate the 100th Writer Showcased at Yorkshire Television in November 99 Jill James with Richard Gregory MD Yorkshire TV, tutors and writers; Sunset On Krypton by Dan Wicksman from the Yorkshire Roadshow Writers Workshop
EXPOSURE • 12 & 13