Julian Friedmann CV
Julian Friedmann is co-owner of the Blake Friedmann Literary Agency (www.blakefriedmann.co.uk) and was the publisher of ScriptWriter magazine, which became the online resource for writers at www.twelvePoint.com. He represents both book and scriptwriters and also acts as Executive Producer for and with clients. He has taught at universities and film schools all over the world, is the co-author of The Insider's Guide to Writing for Television, author of How to Make Money Scriptwriting and editor of two volumes on Writing Long-Running Television series. He designed the MA in Television Scriptwriting at De Montfort University and PILOTS, for developing long-running television series for the EU MEDIA Programme. He has been on both Emmy and Grierson Juries and is Senior Advisor to the London Screenwriting Festival. He recently gave a TEDx talk on storytelling: http://www.tedxealing.com/tedxealing-video-archive/julian-friedmann-the-mystery-of-storytelling/
I am Joint Managing Director of Blake Friedmann Literary Agency (www.blakefriedmann.co.uk) in London which represents 200 book and script writers worldwide. Prior to BFLA I ran a small agency for several years before merging with Carole Blake who had a similar small agency.
For a number of years before that I ran a small publishing company specialising in academic books, and before that I was Educational Editor at two companies in London in the 1970s, Angus & Robertson and Irish University Press.
I was the first UK Coordinator of the European Union’s MEDIA Programme, EAVE, a producer-training programme (1990), where I was responsible for the pitching training and for introducing in-depth script analysis. I worked closely with the then Head of MEDIA, Holde Lhoest and spent time in Brussels on the Board of EAVE.
I have been involved with other MEDIA Programmes including being an expert at Euro Aim workshops, and lecturing at SOURCES workshops around Europe. I also helped design, and taught regularly at, Global Negotiations, a MEDIA Programme training people frm all areas of the film and television industries – including writers - in the skills of negotiating in the audio-visual industries. I have extensive contacts with the industries in Europe and South Africa and Hollywood.
I designed and set up the world’s first MA in Television Scriptwriting at De Montfort University in Leicester where I teach regularly. I have taught for Screen Training Ireland and have been a visiting lecturer at the University of Brussels, the Munich Film School, the Masterschool Drehbuch, ScriptForum in Berlin, John Moore’s University in Liverpool, the London College of Printing MA in Scriptwriting, Oxford University Film Society, Movie Makers in Scotland, the Royal College of Art, the National Film & Television School, and the Northern School of Film and Television in Leeds.
I have advised broadcasters BRTN Belgium and YLE Finland on long-running series and Soaps, and acted as an expert for various international MediaXchange tours of producers to the UK.
I have been on both the European Jury for the International EMMY nominations (twice) and the Jury for the Grierson Documentary Award (twice) and during the Berlin Film Festival I am a regular lecturer and script expert at the Talent Campus.
I recently gave a TEDx talk on storytelling: http://www.tedxealing.com/tedxealing-video-archive/julian-friedmann-the-mystery-of-storytelling/
I act as an Executive Producer for clients on selected films: I have Executive Produced a low-budget feature INNOCENT, about bullying in schools: http://www.imdb.com/title/tt2015401/fullcredits?ref_=tt_ov_st_sm#cast
I am also Executive Producing on the following films:
THE RETURN OF CAPTAIN NEMO: http://pro.imdb.com/title/tt1937115/fullcredits
GIRL MADE OF DUST, a feature film to be shot in the Lebanon: http://www.agirlmadeofdust.com
BENEDICT’S BROTHER: http://benedictsbrotherfilm.blogspot.co.uk
WITNESS THE NIGHT (Complimentary Films; based on award-winning novel by Kishwar Desai, script by Tom Kinninmont and Gilbert Adair)
I lecture on the business of scriptwriting, on writing treatments and on pitching, and have published a book called HOW TO MAKE MONEY SCRIPTWRITING. I edited two volumes called WRITING LONG-RUNNING TELEVISION SERIES. I am co-author of a new book The Insider's Guide to Writing for Television.
In November 2001 I launched Britain’s only scriptwriting magazine, ScriptWriter. (Details from www.scriptwritermagazine.com.) I ran the magazine ran for 9 years, and it became Europe’s most influential scriptwriting magazine (it is now part of www.TwelvePoint.com, a web-based magazine and resource for writers and those who work with them). The magazine covers all aspects of knowledge for professional scriptwriters, from law and business to script development, genre, audiences and markets. The magazine received support from the UK Film Council.
I was on the Executive Council of the Writers’ Guild of Great Britain and on their Communications Committee and Television Committee for a number of years. However, I resigned to advise Amnesty International, helping strategise Amnesty’s relationship between the audiovisual media and their campaigns.
I have also been on a Skillset Working Party deciding how to spend Skillset’s budget for scriptwriter training, and am on both the Advisory Board (which I have chaired) and the Board of Directors of the Scriptwriters’ Festival in Cheltenham.
I was born in South Africa in 1944 and came to live in London in 1961. I have degrees from the University of York (Philosophy/Politics BAs) and an MA from the School of Oriental & African Studies. I did one year of a PhD in International Relations at the London School of Economics but left because I had a full-time job in publishing that conflicted with a two-year PhD.
HOW TO MAKE MONEY SCRIPTWRITING:
• ‘This wonderful and accessible book fills in all the gaps. It’s full of insights that help writers in the business of screenwriting - a great help to actually get a script sold.’ Linda Seger (author of MAKING A GOOD SCRIPT GREAT).
• ‘If you want to be a scriptwriter but aren’t really sure what to do about it, then you could do a lot worse than reading Julian Friedmann’s HOW TO MAKE MONEY SCRIPTWRITING. Friedmann knows what he’s talking about, which he does in a witty and entertaining way, informing without patronising. Go and buy it.’ Film Review
• see below for some quotes about this magazine (which I publish from home with my partner).
S c r i p t W r i t e r M a g a z i n e
"It is a valuable resource for students keen to learn the basics of writing and about the business of writing, as well as providing a constantly changing perspective on all the issues that matter to working writers." Christopher Walker, Course Leader MA TV Scriptwriting at De Montfort University.
"The wealth of articles available, from writing genre to writing emotion, working with actors to working with script editors, has enabled some very insightful debates to take place…. For students and professionals alike, the highly comprehensive yet easily accessible writing means that new and existing ideas are able to be shared and embraced." Craig Batty, Senior Lecturer in Media Writing, University of Portsmouth.
“Excellent articles, very thought-provoking, really good to have in the office to read in the breaks – or to read all morning when the work’s not going well.”
Andrew Davies, writer (Bleak House, Daniel Deronda, Zhivago , Bridget Jones’ Diary, A Rather English Marriage, Pride and Prejudice, Game On, Middlemarch, House of Cards, A Very Peculiar Practice)
“It’s ‘the knowledge’ for British scriptwriters”
Jack Rosenthal, writer (Lucky Jim, Wide Eyed and Legless, London’s Burning, The Evacuees, Bar Mitzvah Boy, P'tang, Yang, Kipperbang, Ready When You are Mr McGill, The Evacuees (Emmy award), Spend, Spend, Spend (Prix Italia), The Knowledge)
“At long, long last Britain has joined the other major film-making countries in gaining a serious, worthwhile magazine for screenwriters. To my mind it is a positive duty of every professional writer, and every emerging professional, to support this initiative. Scriptwriter is brilliantly informative, deliciously opinionated, and admirably open to all perspectives and points of view. From the in-depth analysis to the penetrating interview to the beady-eyed news coverage, Scriptwriter is a pleasure as well as an obligation.”
Bernie Corbett, General Secretary, Writers' Guild of Great Britain
“Every scriptwriter should have a copy on his or her desk.”
Jurgen Wolff, teacher / writer (Benson, Family Ties, Relic Hunter; script doctor Mannequin, Pluto Nash)
“Very useful for writers and it has great informative articles.”
Nicola Shindler, Executive Producer, Red Productions (Queer as Folk, Bob & Rose, Clocking Off, Linda Green)
"It's great that there is finally a magazine for screenwriters about
screenwriters. ScriptWriter Magazine is necessary, important and welcome. Anyone involved in film and television writing in Europe should be reading this magazine."
Stephen Cleary, Director, Arista Development (Producer New Year’s Day, Co-producer Goodbye Charlie Bright, Co-writer Alexandria)
“For £36 a year it is the best, cheapest and most effective scriptwriting course on the market.”
Matthew Friday, scriptwriter, script reader
“ScriptWriter provides clear and fascinating articles about the world of film and television writing. It should be on the desk of every television commissioner.”
David Docherty, ex-MD Broadband Content, Telewest; formerly Deputy Director of TV BBC; author The Spirit Death, The Killing Jar, The Fifth Season
“Extraordinary and profound articles.”
Thomas Spieker, producer 42nd St Productions, Barcelona
“I was absolutely delighted when ScriptWriter was first published. It promised to fill such an important role in supporting the development community, and has continued to live up to that promise with panache. We are thrilled to read every issue and honoured to be associated with it.”
Jonny Persey, producer, APT Films (Wondrous Oblivion)
"Reading ScriptWriter is like a cocktail of group therapy, treasure seeking and shopping at the DIY shop. After each issue, I feel less
lonely, richer and better equipped with new useful tools."
Peter Andermatt, writer, script editor and script consultant, Madrid (Ibiza Dreams, Mi casa es tu casa, Nicolas, Gladiator Academy)
“Cover to cover, it’s full of information and insights that all screenwriters should know about. A vital career aid to anyone in the screen trade.”
Lucy Daniel, writer (Big Kids, and children’s novels)
“An invaluable behind-the-scenes look from the ‘twinkle in the eye’ to the Hollywood blockbuster.”
Kumari Salgado, script executive (Sirens, Goodbye Mr Chips, Lucky Jim, The Lakes, The Sculptress)
“There is always something interesting to read and learn in ScriptWriter … thought-provoking articles allow me to think ‘out of the box’.”
Deanne Edwards, ex-Director, Short Course Unit, National Film & Television School
“Full of sharp insights, occasionally infuriating but always stimulating.”
Rib Davis, author (Writing Dialogue for Scripts and Developing Characters for Script Writing)
“ScriptWriter Magazine is essential reading for anyone who wants to be a successful scriptwriter. It is packed with informative articles and advice written by people in the business.”
Ken Rock, President, The British Society of Comedy Writers
“Eminently practical, gloriously philosophical, absolutely required.”
Dominic Minghella, scriptwriter
“ScriptWriter gives access to the knowledge and experience of leading writers, pundits, tutors and lecturers who can be heard on the writer's training circuit without the costs of the course fees and time away.
Roger Gregory, television script editor and producer for BBC and ITV (Reluctant Chickens [David Cregan], Heart of the Country [Fay Weldon], The Man from the Pru [Robert Smith] and Jilly Cooper's Riders)
“I have been really impressed with ScriptWriter. It patently wants to help writers come up with better scripts and that has to be good for television and film in general.”
Ray Marshall, producer/writer, Festival Film and TV (Catherine Cookson series)
“Really well focused, well written and well edited - the best writer-to-writer street corner I've come across in a very long time.”
Adrian Lunney, writer
"Finally a magazine that addresses scriptwriting and scriptwriting issues from a British perspective. Intelligent, witty and argumentative, it makes a significant contribution to understanding and illuminating the role of the creative process within the film and television industry."
Ashley Pharoah, writer and creator (Where the Heart is, Paradise Heights, Down to Earth, Life Support)
"...really sticks to its motto: 'Dedicated to producing better scripts' and deals with important subjects such as how to keep artistic integrity and at the same time be commercially successful. I can't wait to start reading each issue."
Michaela Hennig, actress, writer, acting and scriptwriting teacher