The Industrial Scripts Family Tree
Befitting our collective obsession with Francis Ford Coppola’s endlessly remarkable GODFATHER films, we thought we’d break up the corporate monotony of the usual “About Us” pages littering the internet.
“I still don’t know how Coppola pulled it off”- Sam Mendes
So below is our “Family Tree” – a bit of fun that also tells the reader about us, how we’re structured, and who does what.
Just scroll down to read individual bios and for more information.
EVAN LEIGHTON-DAVIS, OWNER
Evan is a Producer, and the Owner of Industrial Scripts and Takedown Pictures. An ex-Ealing Studios executive and former full-time industry script consultant, he analysed material for a range of producers, funding bodies and Hollywood studios. His consulting credits include: Warner Bros., Paramount Pictures, Universal, Scott Free, Working Title, BBC Films, Pathe, See-Saw Films, StudioCanal, Dan Films, TalkbackThames, Intermedia, Mirage Enterprises, CinemaNX and Screen South. For 3 years he worked in development at Ealing Studios, reporting to Head of Development Sophie Meyer, and during his time there the studio produced films including ST. TRINIAN’S, EASY VIRTUE, DORIAN GRAY, ST. TRINIAN’S II and BURKE & HARE. In 2008, Evan was credited script editor on the first feature financed exclusively out of Dubai (the $7m CITY OF LIFE starring Natalie Dormer & Alexandria Maria Lara) and he was also a story analyst for PEEP SHOW creator Andrew O’Connor, investigating at length the screenwriting theories of Save the Cat! author Blake Snyder. In total, Evan assessed over 3,000 projects for Britain’s leading film companies and funding bodies. In early 2010 he established Industrial Scripts to offer writers and filmmakers high-level, industry-trusted script development, training and promotion services, successfully brokering sponsorship deals with Paramount Pictures and talent agency Curtis Brown. Evan currently oversees all aspects of Industrial Scripts’ activity, and through Takedown Pictures is producing several projects including sports drama WAR GAME with Bedlam Productions, producers of THE KING’S SPEECH and EXAM.
VICTORIA CARRINGTON, GENERAL MANAGER
Victoria has worked in broadcasting and production for 14 years, through a variety of roles across radio, TV and online. She has covered both hard news and entertainment throughout her career – predominantly developing and writing for live programmes, high-level celebrity interviews and large “on-air” events. After moving into the film industry, Victoria now oversees the day-to-day running of Industrial Scripts and leads the company’s events, training and fiction feedback programmes.
ROB BARNS-GRAHAM, WEB DEVELOPER
PHG is a writer and script consultant and one of the rising stars of the UK script development community. In addition to being one of Industrial Scripts’ core screenplay assessors, PHG is also a current script consultant for high-level industry clients including Scott Free, The BFI Film Fund and StudioCanal. PHG also works across other areas of the company including digital marketing.
DJ is a script consultant, script doctor and writer. After graduating from Oxford University, DJ became one of the primary script consultants for the UK Film Council. As a consultant for the UKFC and companies including Icon Entertainment, Blueprint Pictures, and Tightrope Pictures, DJ worked on projects by some of the UK’s foremost writers, including Tom Stoppard, Sally Wainwright, Lizzie Mickery, and Paul Abbott. DJ currently heads up development slates for two independent production companies,developing both television drama and feature films. As well as sourcing and developing new talent, DJ is working on projects by a range of established writers, including Alan Whiting (Wire in the Blood, Kingdom), Richard T. Kelly (Crusaders, The Possessions of Doctor Forrest), and Stephen Gallagher (Eleventh Hour, The Forgotten). DJ is the development producer of upcoming movies CRACKED, a horror film by Sarah Pinborough, to be directed by Peter Medak; THE COLOUR, a New Zealand-set historical romance by Rose Tremain, directed by Peter Webber; and psychological thriller THE CHERISHED ONE by Lena Rae, directed by Simon Rumley.
EM is a screenplay consultant and screenwriter with 10 years’ experience in high-level film journalism. Interview credits include Sir Ridley Scott, Tim Burton, Kathryn Bigelow, Jerry Bruckheimer and Duncan Kenworthy, to name but a few. A graduate of the University of Westminster’s MA in Film: Culture & Industry, EM has also undertaken an MA in Creative Writing (Playwriting & Screenwriting) at City University London, a Skillset-accredited course whose advisory board includes Julian Fellowes, Stephen Poliakoff, Kwame Kwei-Armah and Meera Syal.
KA is a freelance editor with a wealth of experience in commercial women’s fiction. From her beginnings as an aquiring editor for Harlequin Mills & Boon, she has worked with editorial teams at Carina UK, Mira Ink and the boutique fiction publishers Bookouture, nurturing new and established authors alike, as they develop their drafts for publication. She is most at home coaching burgeoning romance, erotica and chick-lit authors through the twists and turns of world-building, characterisation, conflict and writing good sex.
MB is an author and freelance fiction/non-fiction consultant. He has written extensively for children, including the successful Sir Gadabout books which were turned into an award-winning series for Children’s ITV. He has also written for adults, including Deadly Winter, a biography of the Arctic explorer Sir John Franklin, and Murder in Montague Place, a detective novel featuring Bleak House‘s Inspector Bucket. He has a book about the Battle of Waterloo due out in 2015, and is currently working on a contemporary thriller.
RG is a book editor, filmmaker, screenwriter, critic, and script consultant, based in London, with a penchant for science fiction and fantasy. He is one of the core team behind The London International Festival of Science Fiction and Fantastic Film and Literary Editor for SCI-FI-LONDON.com. He has twice served on the jury of the Arthur C. Clarke Award for Science Fiction Literature, the most prestigious science fiction award the UK has to offer, and his book ‘Writing The Science Fiction Film’ (Pub. MWP), is out now.
JA is a crime author with over twenty published books. Her first book, The Greenway, was nominated for the Authors’ Club Award and also the CWA John Creasey prize and her work has been widely translated. She has worked as the Royal Literary Fund Fellow at Leicester University, De Montfort University (DMU) and Nottingham Trent and has taught creative writing at all levels from beginner to post graduate. She currently teaches Creative Writing at DMU.
More fiction readers to be added soon!
*Why are these bios anonymous?
There are important reasons why we choose not to disclose the identity of our story analysts, but we won’t bore you with all of them. Instead, here are three:
– Reader Protection: believe it or not, in the US story analysts have actually been tracked down by irate writers who didn’t respond too well to criticism of their work. One writer, if the tale is to be believed, even turned up at a reader’s home when he was having dinner with his wife and kids. As far-fetched and exceptional as circumstances such as this may be, we have a duty of a care to our hard-working story analysts and protect them accordingly.
– The Company (not the individual) as Star: as in any trade or profession, story analysts are not available indefinitely or on an absolutely exclusive basis (although some of our readers do the lion’s share of their work for us). As in any freelance trade, consultants sometimes move on, and at Industrial Scripts we strive for the company name, logo and image to be the star, not any individual. The Industrial Scripts name must stand for excellence and it’s vitally important to us that whoever works on a specific job is simply the temporary custodian of the overall company name.
– Retention of Talent: truly great story analysts are so few and far between, and as in any field of business it’s important to us to retain our top talent, wherever possible.
As suggested elsewhere, we stand by the quality of our service.