Interview (Part 1): Melissa Iqbal (2014 Nicholl Winner)
U.K.-based writers Melissa Iqbal wrote the original screenplay “The Death Engine” which won the 2014 Nicholl Fellowship in screenwriting. Recently Melissa and I had a transatlantic phone call in which we covered a lot of territory in an excellent conversation.
Today in Part 1, Melissa talks about her emerging interest in filmmaking, at first starting out in the area of production:
Scott Myers: Easy question to start: Where did you grow up and how did you find your way into writing as an interest?
Melissa Iqbal: I grew up in a village in West Sussex in the south of England. And I’ve always been writing. When I was younger I quite liked the idea of being a novelist, so I started writing short stories. Then my passion for film sort of took over. In hindsight, screenwriting was quite an obvious way for me to merge my two great passions, but I was nervous about dedicating myself to something that meant I’d have to sit alone in my room for long periods. I liked being around people too much, so, in the end, I got started in production and kept writing as a sort of hobby. It wasn’t until I became a bit disillusioned working in production that I returned seriously to writing and applied to the NFTS.
Scott: The NFTS, is that like a graduate school?
Melissa: Yes, I did my masters there and graduated in March last year. It’s a fantastic place to study, I don’t know what I would have done without that experience. Film school’s not for everyone, but it definitely helped me.
Scott: Let’s drop back a little bit. You said you had a longstanding interest in cinema. Can you remember some movies from your youth that influenced you?
Melissa: One film that had quite a big impact on me was Hayao Miyazaki’s Castle in the Sky, which my mum taped from BBC two and that I remember watching repeatedly with my brother until the VHS tape was practically destroyed [laughs].
Looking back, it’s such a well‑crafted adventure film. There’s no fat in it. All the elements in it work so well together- the characters, the structure, the music especially. It managed to take me beyond the limits of my own imagination, which is incredible for a young kid.
Scott: Your interest was production. Did you study that at university?
Melissa: I did a BA in film production at London College of Communication. That was also a valuable experience.
Scott: Did your experiences working in film production help you in terms of your screenwriting, understanding life behind and in front of the camera?
Melissa: Definitely. It taught me not to be too precious with my work. I now know how hard it is to get a film made and how it’s a constantly evolving thing. The last thing anyone needs is the writer throwing a fit because it’s not how they saw it in their head.
Scott: Let’s talk about the National Film and Television School. Is that a two‑year program?
Melissa: That’s a two‑year program, yes. In the first year, it’s a lot of seminars and classes and then the second year is a lot freer. You get the opportunity to apply what you’ve learned to your own work. And one of the best things about it is the standard of tuition and guidance you receive. My tutor, Brian Ward, was amazing and we’re given a personal mentor in the second year to help us develop our spec scripts. I had the wonderful Holly Phillips who’s a professional TV writer and who helped me develop ‘The Death Engine’. I had never really gone through the whole process of re-writing draft after draft of a script before and she really supported me and gave me excellent feedback at every stage.
Scott: Is the focus at the NFTS more about the British film industry or do they also consider careers in Hollywood?
Melissa: Ultimately, what they want is for you to go on to work in the industry. Whether that’s in Hollywood, in Britain or elsewhere, that depends on what you write. They don’t try to pigeon hole you, they make it clear the industry will do that for you. It’s more a discovery of how to sell yourself and your writing in the best way possible. Of course, the British industry is given a lot of emphasis simply because its on our doorstep and a lot of the tutors have experience working in the UK, but it’s by no means something that’s forced on you. Every writer’s path will be different and it’s more about helping you find yours.
Scott: There are all these screenwriting resources online. Do you track blogs, podcasts, message boards, anything like that?
Melissa: A little bit. The BFI does a great screenwriting podcast and the academy sometimes posts script pages and videos interviewing working screenwriters. It’s always great to hear from other writers. It can help you improve your approach or you might pick up useful tips. And even if you don’t there’s at least a sense of camaraderie you get from hearing other writers talk about their process. It can be quite an isolated existence sometimes and it’s nice to have a peek into someone else’s bubble. It makes you feel less alone if anything.
Tomorrow in Part 2, Melissa reveals the inspiration for her script “The Death Engine” and how she went about the world-building process.
Melissa is repped by Casarotto Ramsay & Associates.
Twitter: @Azureix.