Peter’s perhaps best known for co-writing Hellboy, with Guillermo Del Toro. In 26 years, he’s been employed by 20th Century Fox, Paramount, Universal, Sony/Columbia, Miramax, and many more, writing on such projects as Alien vs. Predator, Judge Dredd and War Of The Worlds.
He’s written for the LA Times and, in his native Britain, been a television and film journalist for BBC television and radio.
Peter has an aversion to glowing rocks, and likes pink very much, Lois.
Genre Specialties: Drama, Action/Adventure, Sci-Fi
Our east coast reader Heidi recently finished working as a senior analyst on The Writers Lab funded by Meryl Streep and Writers Guild East.
She served as Director of Development for Weinstein Co. and has contributed to the development of films such as Shakespeare In Love, Gangs of New York, Like Water For Chocolate and Dirty Rotten Scoundrels, and has also read for October Films, New Line Cinema and Disney.
As well as being on the New York Women In Film and Television’s Board of Directors, Heidi has a frog named Pokey and loves taking pictures of a snow-covered Central Park.
Genre Specialties: Drama, Comedy.
Scott was a senior analyst at ScriptPipeline for five years before switching to Script Reader Pro.
His first foray into screenwriting came in the seventh grade when he crafted a horribly inappropriate Police Academy screenplay for an English class assignment.
Since then Scott has optioned five screenplays in recent years — one of which Incision won the 2013 PAGE contest, and is currently in pre-production with Loesch Productions.
Genre Specialties: Thriller, Horror, Drama, Comedy.
John is in the process of attaching a director for his feature Hummingbird which he developed with Broken Road Productions, and shopping his sci-fi television series Marfa, which he sold to Star Thrower Entertainment.
He also has years of experience as writers’ assistant on WGN’s drama Underground, assistant to writer Brent Forrester on the series Super Fun Night, and screenwriting instructor at UCLA and Northwestern University.
Outside of his writing career, he’s maintained a lifelong passion for Japanese noodles, and recently developed a begrudging respect for Crossfit.
Genre Specialties: Sci-Fi, Horror, Action/Adventure.
GOT A SCRIPT YOU NEED REVIEWING?
We will do our best to assign you the script doctor who’s most in-tune with your screenplay. Just let us know who you’d most like to work with and help get your screenplay where you want it to be.
ALEX BLOOM &
SCRIPT READER PRO’S
Several years ago in the late 2000s, I was trying to “make it” as a screenwriter. Writing scripts was tough enough, but reading coverage on them from various screenplay consultancies was even tougher.
The problem wasn’t that I can’t take constructive criticism. The problem was the criticism wasn’t helpful.
Often the notes I’d get back would amount to a series of unhelpful vague cliches or advice that was just simply plain wrong.
- It can grate on the nerves to be told to make your protagonist more “likable”. When your protagonist’s a creep, and you know that some of the most memorable protagonists in movie history have also been creeps, this advice is not what you want to hear.
- It can be frustrating to read things like “Let the story breathe” and that’s it when you’re more interested in solid, practical suggestions on how to fix any problems in the script related to it being too cluttered.
- It can be annoying to hear falsehoods from script readers like “Never use camera angles” when you want to add a few judicious camera shots to help evoke in the reader’s eye what you want them to see.
In short, all too often the coverage I received wasn’t as helpful as I was expecting, and this was what sparked the idea in my mind of setting up my own screenplay consultancy.
OUR SCRIPT CONSULTANCY VISION
Script Reader Pro, I decided, would be script consultancy based on the following principals:
- No Vague Cliches: “Just trust in your characters” “Let the story breathe” etc. are annoying and completely meaningless. We don’t use vague cliches but instead show writers how they can tackle problems with action.
- No Rules That Only Exist In Script Consultancy Land: “Don’t bold your sluglines” “Never use camera angles” etc. are rules that only exist in the heads of some script readers.
- No Padding: I once had a script reader spend the whole “Structure” section (almost a page) on the fact my comedy screenplay was only eighty-nine pages long. And he also had a problem with a missing comma in the title. In contrast, we only focus on the most important problems in a screenplay that will make you excited about starting the next draft.
SOME OTHER COOL THINGS
- Working Screenwriters: Another important element I wanted to include in Script Reader Pro was to only hire script readers who’d achieved some degree of success in screenwriting themselves. I wanted to give Script Reader Pro an edge over other script consultancies who hired readers who’ve never written a script themselves. Or if they have they’ve never had any success with their writing. You can read all about our script consultants below.
- Visible Readers: Another thing I wanted to steer clear of in Script Reader Pro was the slightly shady anonymity of some companies whose readers “have all worked for various big studios and production companies” with no mention of who these people actually are.
- Choice of Genre Expert: That’s why at Script Reader Pro anyone can read real bios of all our script consultants, and choose who they want according to their chosen genre. Whether you’ve written a Drama, Comedy, Thriller, Horror, Action/Adventure or anything else in-between, one of our readers will be able to help.