Mentoring & Editing

Passionate About Inspiring Others

Film Producer, Story Analyst, Former agent, Consultant to Several Film Financing Funds, Member of the British Film Academy (BAFTA) and Oxford Academic.

Why Me?

There are a thousand people out there who will take your money to sell you their opinions, most of them are more likely to do you harm than good because they have little valid industry experience. Just because you have covered a thousand screenplays does not mean you know how to get a script into bidding-war shape. Unless you have actively participated in production meetings, worked with writers on numerous pre-production re-writes integrating director and actor input, dealt with casting, editing, etc. you have no concrete idea of what works on the screen or not. I have done all of these things.

I am the only one to:


  1. ​ Have been trained in the story department of a major Hollywood studio. I covered over 800 scripts and novels for highly demanding executives and producers before I became a…

  2. A literary agent in Beverly Hills and amongst others represented Quentin Tarantino, Christopher De Vore (Elephant Man) & Mardik Martin (Raging Bull).

  3. I then went on to start off a literary management company and discovered a number of writers such as Andrew Niccol (The Truman Show, Dir. Peter Weir) and Iris Yamashita (Letters from Iwo Jima, Dir. Clint Eastwood). Both Academy nominated. I also worked with a number of other writers such as Pat Duncan (Mr. Holland’s Opus) and am presently working on a script for twice Academy nominated director Habib Zargarpour. I am personally represented by a major literary agency as a writer.

  4. I produced a film, The List, which I sold to Warner Bros.

  5. I am an expert consultant to the Europen Union’s EACEA program and advise their film finance arm on which of thousands of scripts to finance.

  6. My career has been validated by my election to the British Film Academy in 2004.

  7. I organized and attended just under 7000 pitch meetings in Los Angeles, mainly with the heads of production at the studios.

  8. I just completed 5 years of detailed research for my Ph.D. into thousands of films to identify key factors that determine their success or failure. For this, I worked with not only leading Hollywood players but business school-based researchers globally. This has given me a unique insight into the replicable keys of success, which I will factor into the feedback I provide you.

  9. If your script merits it, I will be glad to submit it to relevant, high-ranking contacts at no cost to you.

Mentoring & Editing Options:


  1. Studio Coverage: This is the same feedback a studio analyst will provide the executives or agents will receive when you submit for consideration.  You need to know what they say about your script before you actually submit it, as once they have turned you down they are extremely unlikely to reconsider. CLICK for sample. This costs $179. Contact me!

  2. ​Development Notes: These are the same notes that writers who have been optioned will receive from the studios and production companies. They are much more detailed and address every issue that needs fixing. Whereas Studio Coverage is about telling the executive why to acquire a project, or mainly not, as the case may be, Development Notes are purely geared towards helping you fix all issues. I also provide detailed margin notes for the entire script. On top of this, through our email exchanges, I will get a good idea of what your goals are and I will provide you with bespoke guidance on how to get there. Nothing makes me happier when one of my clients comes back to me with a deal. Remember: this is not some script consulting service, this is mentorship. Most of my clients have been with me for years because it is hard to find anyone who will tell you the truth in this business. My only agenda is your success.  CLICK for sample. Available for $299. Contact me.

  3.  Development Margin Notes: The same level of detail as the Development Notes above, but without the report. The cool thing about this option is that you see exactly where the issues with your script are alongside my recommendations on how to fix them. $250. Contact me.

  4. New project concept pitch: Few things are more important than getting the concept of your script right before investing months of your life on a project that has little chance of selling from the get-go. I am glad to provide you constructive feedback as well as improvement suggestions.  Either up to four pitches of up to half a page each or one longer synopsis of up to four pages. $100. Contact me.

  5. Short film script: Tell me what you need, what your specific concerns are and you will get detailed notes to address all issues. Contact me.

  6. ​If you have a novel, play, short story, or article that you think could make a great film please contact me. I would be happy to discuss the project and provide you with a detailed report on how to proceed, to include advice on how to get the script is written or access to screenwriters. On a merit basis, I would also be happy to make introductions to agents and producers.

  7. For producers, I am able to provide detailed insight into the revenue potential of a film project. Please email me.

  8. One-hour face-to-face meeting at BAFTA in London or in Beverly Hills to discuss your project and career, per appointment.

Certifications 

  • Taught screenwriting as a guest lecturer at over a dozen film schools and colleges in the UK & US.

  • Ph.D. in the optimization of screenplays for box office success.

Qualifications

  • Studio trained Script Analyst.

  • Former Agent and Literary Manager.

  • Film Producer working with top Hollywood Talent.

  • Expert Consultant to the EU’s Film Finance Program (EACEA).