In the first part of this series, we were introduced to very talented but reclusive screenwriter, Tunde Babalola. Writer of The Meeting, Maami and October 1 among others, we conclude this chat with a more in depth look at what it takes to make it as a script writer in Nigeria’s film industry and Tunde has some very good advise for budding writers.
ENJOY!!
Q: What writing habits, do you think a young would be screen writer would need to be successful at this?
A: Writing for long sessions is a good habit. That takes discipline. Also read other people’s ‘good’ scripts to understand structure. Keep practicing as it makes perfect.
Q: On the average, how long does it take you to finish a feature length movie script?
A: About a month. I don’t write fast but I write for long sessions… sometimes 10 to 16 hours a day, depending on how well it’s flowing. I also rewrite a lot, to the extent that my personal 5th draft could be the official 1st draft that I submit.
Q: What is the script/film you’re most proud of?
A: Like previously said, scripts are like babies. How does one choose which to be the most proud of? My numerous UK television drama and comedy series, my films like Critical Assignment or Maami, or Alero’s Symphony, or The Meeting or October 1? Each script I have written has served a purpose and given me great satisfaction at that point in time. But just like some parents have a fondness for their first or last born, I will always fondly remember the first script I actually got paid to write, which was the UK sit-com series In Exile.
Q: Are there mistakes you made as a young writer, you think people who want a future in writing should avoid?
A: Not really. I would only say don’t be discouraged by initial rejection. Just keep at it and get better. I could have given up after three years of rejections in the UK but I persevered, and it paid off. Also don’t be a precious writer – accept constructive criticism and apply it to your work. Stay true to yourself and your subject.
Q: Young writers are often skeptical about sharing their works or ideas with producers or directors due to a handful of unscrupulous practice from that group, how can they keep their intellectual property safe?
A: Unless you’re commissioned by a 2nd party, always copyright the very first draft of your work before you allow anyone to read it. That safeguards your intellectual property. Also, don’t be afraid to ask around, rather than just hand over your script to a random producers/directors. Everyone has a reputation. If you have doubts, then don’t drop your script.
Q: Do you have a mentor and are you mentoring any younger writers?
A: I used to have a mentor when starting out. And yes, I do mentor a couple of young writers who are up and coming. They read all my scripts and they send me theirs to review and give notes on. Before I mentor anyone, I ensure they are serious about script-writing, as it’s not child’s play or a hobby. I also ensure they already possess a flair for the art. I can’t teach a person to write… but I can make a good writer a better writer.
Q: Tell us five screenwriters whose work you find interesting or who give you a run for your money (home/abroad)?
A: Paul Haggis (Crash, Million Dollar Baby), Stephen Gaghan (Syriana, Traffic), Joe Eszterhas (Basic Instinct), Shane Black (The Last Boy Scout), Frank Darabont (Shawshank Redemption)
Q: Parting words?
A: “He who dares wins.”
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