FILMS

I was part of the script team for PADDINGTON and PADDINGTON 2, working on everything from structure to character and jokes. The films' scripts were worked very hard by various writing rooms, right up to the premiere, and I was part of the last small group of writers working on both movies.

The standard of script and story work demanded by Paul King and Simon Farnaby and the production team was amazingly high. It's the least lazy, and most satisfying, working experience I've ever had. The reaction of audiences to the first film, and the fact that people think we managed to top it with the sequel, are two of the things I'm proudest of in my career. Plus, it was a joyous writing experience, with some brilliant people.

I love horror films as much as I love comedy, and it was a privilege to work on Prano Bailey-Bond's CENSOR, and again a delight to see it make such an impact with audiences. In sharp contrast, it was a joy working with Simon Farnaby (and some of the Paddington team) again on his delightful true sports yarn PHANTOM OF THE OPEN starring Mark Rylance, and a privilege to be invited to lend a hand with his passion project.

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I relish the challenge of working with directors and screenwriters on their films, as a collaborative process in ironing out the inevitable kinks and niggles, so the audience get taken along for the ride. One of the things I've learned – and applied especially to the work on PADDINGTON – is that you cannot 'gag up' a script (even if you're hired as a comedy writer, for a 'joke pass'). What you're meant to be doing is establishing character, and reinforcing structure, clearing the weeds so the jokes and story can bloom. It's all about structure and clarity. Doing this job on films, and helping them be as good as they can, is one of the most enjoyable tasks in professional writing.

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