Last wednesday we had the annual film market at the BFI. Stephen May invited a room full of producers from the British film and tv industry and we were all allocated slots in which to pitch our ideas. For our group, only a few months into the process, our films are still very much at treatment stage. But the other group, who are a year ahead, have their scripts ready to go. It was an intense afternoon, we moved from table to table speed date- pitching to whomever we happened to be sitting oppostite, an exec from the BBC, an independent film producer, a sales agent etc. We pitched in groups of three and I was able to observe how my colleagues' pitches improved vastly as we went along. It really is about getting to the point as soon as possible. There is no time for waffling. I soon realised that I was not pitching the core essence of my film, its a dark comedy about grief and friendship set over 24 hours in London. Once I cut to the chase and managed to demonstrate some key comedy moments, the response from everyone was really encouraging and after a few false starts (and a few terrifyingly deadpan faces) I had some excellent conversations. We discusses the place a film like mine might have in the market, the themes that the two female protagonists explore and some people really went into the specifics of the plot structure, which was great. Emails were swapped and plans to continue the conversations elsewhere were made. At this early stage in the writing process, knowing that there are people in the industry who are keen to see how the film develops is a brillaint boost to the long road of writing ahead. Then Steve May and Nik Powell gace me and Gully Moore our certificate for the BFI future film award. I accidentally curtsied, which was lame, but it was great to make this whole process official.