When I lived in Los Angeles, viewing parties for the Academy Awards were almost obligatory.
For a movie-obsessed Brit, it was fun to enjoy the ceremony in real time (and broad daylight). I’d join my friends, who were all somehow connected to the industry, for a bite to eat and almost certainly a few cocktails.
Often times, we’d try to predict the winners. I was eerily good at it but only because I was so immersed in the film world. Back then, I was a journalist covering the entertainment industry and with some knowledge it was easy to see where the cards would fall.
Occasionally, things would get rowdy. I remember one memorable night, in 2010, gathering at my friend’s apartment in Hollywood, located very near the Sunset Tower Hotel, which was then home to the legendary Vanity Fair after party.
Post broadcast, a bunch of us decamped to the Saddle Ranch bar (famous for its bucking bronco), on Sunset, opposite the hotel to watch the celebrity arrivals. It had been, how shall we say, a long day into night, and I recall ‘heckling’ Jennifer Lopez and Martin Scorsese. I’m not sure whether, in retrospect, to feel ashamed or proud but it was all in good fun and Jenny from the (Bel-Air) block gave us a wave.
I’m reminded me of the time the ‘world’s first supermodel’ Janice Dickinson, put me on the phone to her ex partner, who happened to be J-Lo’s manager. We proceeded to have a very awkward conversation about my movie scripts.
Strange things happen in Hollywood.
Let’s hope the Oscars tonight don’t disappoint.
“NOBODY’S PERFECT!”
I wrote many an A-list profile for different magazines but never covered the Oscars red carpet, although I was asked to do some on-camera punditry.
I’m fine with missing out on that particular prize as I attended many other tentpole events such as the LA Film Festival. Covering red carpets is extremely hard work, usually bitterly cold (even in Hollywood) and pretty thankless.
For some reason the press are always positioned in what feels like a turbine wind tunnel. Thermal underwear, flat shoes and a hot flask of coffee are the order of the day, and there’s always a sinking feeling that the one person you absolutely must speak to will waft by without so much as a glance in your direction.
If you want to read more about the heady world of celebrity interviews, grab yourself a copy of Ryan is Ready for You Now, my celebrity journalism memoir.
There’s an entire chapter dedicated to red carpets, and the book runs through the nuts and bolts of celebrity journalism and contains many amusing Hollywood anecdotes, including more on my eventful day with Janice Dickinson.
I’ve noticed though that since the #metoo movement, the pandemic and rise of social media (giving us immediate access to once inaccessible movie stars), the Oscars has lost some of its shine. The buzz beforehand used to be cacophonous. Now it’s more of a low-key hum.
That being said, I figured it was a great time to share some content from one of my favourite screwball comedies, Some Like it Hot.
This now 65-year-old movie won six Oscars including Best Writing, in 1959, for director Billy Wilder and I. A. L. Diamond. I’ve attached the screenplay because it’s a rollicking read.
I also found this absolutely fantastic interview with the director/writer, from the BFI archive. In this piece, by Charlie Higham, Wilder discusses his classic movies from Double Indemnity to Sunset Boulevard and beyond.
GLAD ABOUT LILY
But back to tonight. I’m hoping that Lily Gladstone wins the Best Actress Oscar for her role in Killers of the Flower Moon. In a film that was too long and (eeek!) a bit dull, she was the stand out for me.
Rummaging around further on the BFI website I found this interview with her, by Catherine Wheatley.
Because of her roots, Lily really connected to the character and I think that’s what made a huge difference and elevated her performance. I have a suspicion that Poor Things actress Emma Stone might whip this one out from under her nose but we shall see!
GET AT IT
I know a lot of subscribers to The TEN are writing novels but for the few of you writing screenplays, this is a great article from Blue Cat, who also run a pretty decent screenwriting competition.
The deadline for that isn’t until December so you’ve got a while but I loved the advice given in the article which looks at 7 Ways to Finally Finish Your Script.
Advice like this which is simply presented, actionable and pithy is incredibly helpful if you’re at that stuck phase. And we all hit the stuck phase at some point.
Let me know if you find it useful.
WIN A FIVE BOOK CONTRACT
Novel writing klaxon!
Gear change. Sapere Books is looking for writers to enter a competition with the chance of winning a five-book publishing contract. Five!
To enter, choose one of the six briefs listed below and write up a full synopsis (no more than 2000 words) and draft the first three chapters of the first book in the series.
As the prize will be a contract for a five-book series, they also welcome ideas and brief outlines for the next four books in the series.
The competition is open to debut and unpublished writers as well as established writers and ghost-writers.
1. The Bletchley Park Codebreaker series
2. WWII Naval Thriller series
3. The Medieval Queens series
4. Age of Sail series
5. The King Arthur Origins series
6. The Gothic Houses mystery series
You have until Friday, May 31.
LAB COLLAB
I don’t want to overwhelm you with comps again but this opportunity for female screenwriters who are over 40, from The Writers Lab, in New York, is too good to miss.
The deadline is March 28th, so you need to get your shiz together. Entry is $65.
The Writers Lab US is a four day retreat, conducted in-person outside New York City. Writers undergo deep development work on their projects, with revision guidance and career support from the experienced TWL team and some of the industry’s best writers and producers in one-on-one and group sessions. Shared meals and group activities provide an opportunity for broader conversations and creative exchange.
A READER IN PARIS
Last weekend, I published my Ten for The TEN interview with Edward Chisholm, author of the most excellent memoir, A Waiter in Paris.
He’s got some more book recommendations for you including The Fall, by Simon Mawer, which he describes as “incredible”.
Plus, In a Lonely Place, by Dorothy B. Hughes, and Me Talk Pretty One Day, by David Sedaris (as a huge Sedaris nerd, I heartily concur with this particular choice).
He return read is George Orwell's essay Politics and the English Language. He says of the book: “I carried around a battered copy of his collected essays when I arrived in Paris, and in this particular essay he [Orwell] lays out some key essentials for writing”.
Edward was reading the Michael Clayton screenplay, by Tony Gilroy, when we did the interview. Buy it here. It’s a great film but not easy to find on any of the streaming services.
IT’S A PIG DEAL
If great writing is your jam, Substack is an absolute goldmine.
I loved this piece by Bailey Richardson, aka Art Dogs, which tells the story of author John Steinbeck’s Pigasus doodle.
Have a read and a chuckle. I did. Great stuff!
RIGHT ON BRAND
One of the amazing elements of launching The TEN has been meeting my subscribers.
Jessica Hartley, founder of the PR studio For The Right Reasons, reached out to me this week after I posted about writing my first stand-up set in 17 years, and we had a lovely chat over email.
By total coincidence, Mark Tungate, who did the first Ten for The TEN, had just interviewed her for Ad Forum.
I wanted to share the interview because not only is it a great read that showcases Jessica’s extraordinary talent but it zones in on the idea of building a personal brand.
She has very carefully worked on the branding of her new enterprise, and I think that writers also need to pay attention to their brand too, in terms of building a social media following and how they present themselves.
WILL PALOMA DIAMOND WIN BIG?
I couldn’t resist ending this Sunday’s newsletter with some awards night silliness from wig aficionado Julian Sewell.
Thanks Ken! To order your copy of Ryan is Ready For You Now, click here.