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INTERVIEW WITH ROSIE CULLEN MA SCREENWRITERS PROGRAMME LEADER AT BOURNEMOUTH UNIVERSITY.

GENERAL BACKGROUND INF:

Name: Rosie Cullen

Full Title: MA Screenwriting Programme Leader at Bournemouth University.

Length of tenure at Bournemouth: FT since 2000

Size of Department:  The scriptwriting teaching team (teaching across three programmes, BA Scriptwriting for Film & TV, MA Screenwriting and MA Writing for the Media) comprises 4 FT and 1 PT member of staff, we also rely on a bank of wonderfully talented sessional tutors to support the supervision of script assignments.

INTERVIEW:

1. Briefly, if possible, how broad is the scope of the available courses for film-makers at Bournemouth?  I can’t speak for the production courses but:

The scriptwriting programmes at the Bournemouth Media School provide amongst the most comprehensive range of available courses for budding scriptwriters in the UK; the undergraduate course provides a solid basis for media based careers with a script writing or development leaning; MA Writing for the Media is a 1 year Full Time programme which offers opportunities to write for different dramatic media, including screen & radio drama, as well as writing for documentary and sits within a collaborative framework with post grad production courses; MA Screenwriting offers a Part Time route with a blend of residential and distance learning supported by a dedicated online environment which has tended to attract more mature students,  many of whom are already engaged in the media industry and who have come from as far afield as Japan, Cambodia and Sri Lanka as well as Europe.

2. How does that compare with what some specialised film schools have to offer?             

 The range of programme choice and our position within a prestigious Media School and Skillset Screen & Media Academy (in partnership with The Arts College University of  Bournemouth) make Bournemouth a vibrant media training hub.

3. Are candidate applications considered on a purely academic basis, or will previous film work the student has done be helpful to their consideration?

The competition for places on the undergraduate programme tends to mean that students require a sound academic profile but shortlisted applicants are asked to submit sample scripts and the quality of script can have an influence on the offer of a place.  Both MA programmes ask for first degrees but this is not essential, exceptions can be made and relevant industry experience may be taken into account along with the sample script.

4. Once a student has chosen Bournemouth how simple is it to switch between the courses on offer if a different aptitude or preference takes precedence?

There have been instances where undergraduate students have switched onto scriptwriting from more production based programmes; there would always be some issues of equivalence to be addressed.

5. What are the most likely identifiable career entry points and levels, for a postgraduate?

Graduates of the BASW programme often enter the industry at fairly junior positions, runners, researchers, storyliners or even on reception desks - we have just been visited by a graduate of 2006 who started on the reception desk of a literary agency and is now an agent himself and this speed of advancement is not untypical.  Because it is a PT programme postgraduates on MA Screenwriting are usually already in employment and often in the media already as filmmakers, documentary makers, playwrights, journalists etc. - we’ve also had police officers, oceanographers and oil executives too!  The focus for these postgraduates tends to be very much on furthering their creative writing ambitions. 

6. In your experience is there a typical time frame after the course ends before graduate film makers can expect to get paid for their work?

I’d say there isn’t a typical time frame for scriptwriters.   Many budding writers have to get  a ’day job’ to support themselves whilst they continue writing, try to secure an agent and seize any opportunity which presents itself to develop a writing CV; luck and perseverance seem to be the main deciding factors.

7. Is a Forum like MovieMogul.co.uk 'Very Useful,' 'Quite Useful' or 'Not Useful at all' in helping to get emerging film maker’s work recognised?

I’m crossing my fingers that it is going to prove to be ‘Very Useful’.

8. What other methods of self promotion have you come across that have resulted in advancing careers?

 We have an annual Degree Show in London and this has provided opportunities and breaks for some graduates; the show hands out two Alan Plater prizes and a mentoring relationship with a production company has formed part of that prize.  The programmes also incorporate ‘work experience’, compulsory on the BA and optional on MA Screenwriting, these opportunities can really help to foster industry experience and relationships.  We are always keen to establish closer links with production companies.

9. If you were in charge of the Department for Culture, Media and Sport (DCMS) would you consider introducing an apprenticeship scheme to the film business, or something else altogether, to help create an entry point?

Sounds like a great idea but I’m not sure what form it might take for Scriptwriters – basically we need more drama on TV (rather than endless repeats and US imports) and real opportunities for new writers.

10. If you had only one chance to impart some words of wisdom to an aspiring film maker, which would you choose to give?

To a scriptwriter I would say: If you have a passion to write you will never lose it and there is no retirement age!

Thank you very much for speaking to us Rosie. MM

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