JON GLENDENING
 JON GLENDELING
Where do you live (City, State, or Country)?
Eastbourne, East Sussex, England. How did you discover The Palm Springs International Screenplay Awards and how did you decide to enter this contest among all the others? Like most independent filmmakers, I keep an eye out for competitions that have a good reputation for discovering new talent rather than simply collecting entry fees. Palm Springs stood out because it seemed genuinely interested in celebrating writers and filmmakers. I had just completed the pitch deck and sizzle reel for To Ease the Pain, and it felt like the right project to put in front of an audience. Your script or media entry stood out among hundreds of others. What was the inspiration for your project ? The inspiration came from a completely unexpected moment. I took my elderly mother to a local history talk about Eastbourne, and during the presentation the speaker mentioned Dr John Bodkin Adams, the doctor many believe was Britain's most prolific serial killer. Mum quietly turned to me and said, "I knew him." I’d known her… well, all my life… and I never knew this story! She went on to tell me about meeting Dr Adams as a young girl, and I realised there was an extraordinary story waiting to be told. Rather than making another courtroom drama or true crime film, I wanted to explore the case through the eyes of an ordinary seventeen-year-old girl whose growing suspicions place her at odds with the adults around her. The result is a historical thriller about truth, courage and the danger of looking the other way. How long did it take you to write your script or produce your pitch deck/sizzle reel/trailer...and what was your development process? Unlike many of my projects, this one came together remarkably quickly. Once I'd decided to tackle the story, I immersed myself in the available research, reading every book I could find on the Bodkin Adams case. At the same time, I began interviewing my mother about her memories of Eastbourne and writing down her memoirs. Somewhere during that process, the screenplay seemed to arrive almost fully formed. The research and the dramatic structure developed side by side, each informing the other. The pitch deck was another first for me. I'd never used Adobe InDesign before, but decided to learn it and build the deck myself. It took just a couple of days to create, and seeing it become a finalist at the Palm Springs International Screenplay Awards was a wonderful validation of both the project and the effort that went into presenting it. What is your ultimate ambition as a writer or filmmaker? I've been fortunate enough to have films released around the world and on platforms including Amazon Prime, Netflix and, most recently, Disney+, but I still feel my best work lies ahead. One of the joys of my career has been refusing to stay in a single genre. I've made an independent romantic comedy (Summer Rain), a cult horror-comedy (Strippers vs Werewolves), creature features and thrillers, and I enjoy the different challenges each presents. Looking ahead, I'd love to bring some of the great stories from history to the screen on an epic scale, while continuing to make tightly constructed, character-driven thrillers in the vein of films like Misery, where the tension comes from the people rather than the spectacle. Ultimately, my ambition is simple. To keep telling stories that audiences remember long after the credits have rolled. Which film directors or screenwriters inspire you? Why? Steven Spielberg has always been my biggest influence. His films are wonderfully accessible, but beneath that accessibility lies extraordinary craftsmanship. Whether it's Jaws, Raiders of the Lost Ark or Schindler's List, he never loses sight of character and story. Alfred Hitchcock taught me that suspense isn't about explosions or special effects. It's about making an audience lean forward in their seats because they care what happens next. Rob Reiner is another filmmaker I greatly admire. He's directed everything from Stand by Me and When Harry Met Sally... to Misery and A Few Good Men, proving that great storytelling transcends genre. Perhaps my least expected influence is Hal Hartley. His offbeat dialogue, understated humour and independent spirit made a huge impression on me as a young filmmaker. Infact, my first feature, Summer Rain, began life as something of a tribute to his style before gradually finding its own voice. |
|
What’s your all-time favorite movie or television show?
That's an impossible question because my answer changes almost daily! If I had to pick one film, it would probably be Jaws. I've seen it countless times and still discover something new with every viewing. It's a masterclass in storytelling, directing and suspense, and proof that unforgettable cinema is built on character rather than spectacle. Close behind are Star Wars, Raiders of the Lost Ark and Close Encounters of the Third Kind. They remind me why I fell in love with movies in the first place. They capture that sense of wonder that first made me want to become a filmmaker. As for television, I'd have to choose Band of Brothers. It's an extraordinary piece of filmmaking, but it also has special memories for me because I spent nine months working as an American GI on the production. It was a unique experience that gave me a real appreciation of the scale, organisation and craftsmanship required to produce world-class television. How do you approach competition entries, and what have you learned from participating in these contests? I've entered competitions for many years and, like every writer, I've experienced both the highs of winning and the disappointment of not placing. You quickly learn not to define yourself by a single result. I never write a screenplay specifically for a competition. I write the best script I possibly can, then look for competitions that seem like a good fit. If the screenplay is good enough, it'll find its audience somewhere. Competitions can be incredibly valuable. They provide encouragement, constructive feedback, industry exposure and, occasionally, open doors that might otherwise have remained closed. But they're just one step in a much longer journey. The real goal isn't collecting trophies, it's getting your screenplay made. What advice do you have for others hoping to win a contest or place as a finalist as you have? Write the screenplay you want to see, not the screenplay you think a judging panel wants to read. Read your work aloud. Rewrite relentlessly. Listen to honest criticism, but don't lose your own voice in the process. Every draft should make the script leaner, sharper and more emotionally engaging. Finally, remember that competitions are snapshots, not verdicts. A script that doesn't place in one competition may win another, be optioned, or even get made. Keep writing, keep improving and, above all, keep finishing projects. You can't win with a screenplay that's still sitting in your head. What else are you working on that the world needs to know about? I always seem to have several projects on the go at once! What began as research for a historical feature film has grown into something much bigger. I've uncovered so much fascinating material that I'm now developing it not only as a feature screenplay, but also as a series of illustrated history books and a stage play. Alongside that, I have a television series in development and a couple of horror features at various stages of writing. One of those may well become my next film as director. I enjoy moving between genres because each project exercises different creative muscles. Just when I've spent months immersed in history, it's refreshing to disappear into the dark imagination of a good horror story. The challenge, of course, isn't finding ideas. It's finding enough hours in the day to write them all. Where can the world find you? (Website, IMDB, etc.) www.glendening.co.uk www.refuge-movie.com www.summer-rain.com https://www.imdb.com/name/nm0322539/ |
