“The Bentley Boys” creator Barry Lewis talks to us about its origin & writing process
A London TV Pitchbox Special Mention
The story of the founding of Bentley cars and how before it became what today is known as one of the most renowed luxury car brands, it saved the lives of thousands of soldiers in WWI thanks to its invention of an aero engine. It’s creator, Barry Lewis, talked to us about its writing process and the origin of the story.
Brief synopsis:
At the start of the 20th Century a new era was emerging, driving, racing and flying were fast becoming the ‘New Toys’ of the rich and famous. Small engineering firms rapidly grew into the many automotive and aero engineering factories, a myriad of competition, rising to the top was the prestige company Rolls-Royce.
For many years they ruled unrivalled, setting the standards for others to follow, until their supremacy was challenged by two brothers, Horace and Walter Owen Bentley. The name Bentley summons images of luxury fast cars for the rich and famous but before its founder W.O. made his name with automobile racing he invented an aero engine that would in time save the lives of hundreds of World War I pilots. His innovation was game changing and it all started with an alloy paperweight.
FMH: Tell us a little bit about yourself, why did you decide to become a filmmaker? Where did you study? How did you start your career in film?
My career was initially unrelated to the film industry however I have always been a story teller and it was about ten years ago, with encouragement from my family that I began script writing.
I knew very little about the film industry so I studied various books and attended several script writing courses with industry professionals to develop my skills including Raindance, the Script Factory and Screen South.
Although scriptwriting was more of a hobby this gave me confidence to enter various competitions for short films and with several early successes this gave me the bug and moreover the passion to continue to develop this into a long term career.
FMH: Do you have any other work in film, TV or advertisement? Can you show us/ tell us about your most noted work up until now?
I have had seven short films produced including a 60 second drama made by BBC Scotland.
My short films have tackled many difficult subjects including domestic violence within a same sex relationship and how society views the friendship between a 55-year agoraphobic and a young teenage girl. Both received positive reviews with one winning best drama and best Actress at the Kent Film Festival.
I have in recent years worked closely with Seahorse films who made my last short and currently have an option on my feature, a family fantasy called Dalewitch.
I am now developing my more ambitious film and TV Projects including various historical dramas.
FMH: I read the dossier and the pilot for The Bentley Boys and I found the whole concept very interesting. Delving into the world of engines and automobiles when its industry was only starting is something that hasn’t been treated so often in film and TV. A part from the personal experience you have had with different car companies, as you mention in your dossier…can you tell us a little bit more of the origin of the idea to write this project? How much of it is based in real facts?
Historical dramas have always appealed to audiences, even more so I believe, when they are based on real people and real events. The success of films like the Aviator about the life of Howard Hughes and The imitation game about Alan Turing are recent examples
Having worked directly for Bentley Motors and having read his autobiography I was intrigued by the life of W.O.Bentley, an ambitious man with flaws, a determined man with vision but ultimately a man who was shaped by trauma and personal tragedy.
So this, added to my passion for cars, was the story I have always wanted to tell and was, if I am honest, the underlining reason on why I began script writing.
Much of The Bentley Boys is based on fact, story timeline, events, dates etc. but I have incorporated many of the flamboyant characters of the time as well as other historical events and how they impacted on Bentley’s life and on others around him.
Another reason to see this project develop is that 2019 it will be the centenary of the founding of Bentley Motors and I believe this is ideal timing for the telling of The Bentley Boys’ story.
FMH: What is your ultimate goal with the creation of The Bentley Boys? In the sense of, what concept would you like audiences to stay with when they’d watch it? (a part from being entertained J)
My goal would be to create a classic historical drama that leaves the audience wanting to know more about each of the characters and a story line that makes them eager to watch the next episode or series.
I would like the audience to go away with a greater understanding of the individual endeavours and personal sacrifices these characters endured to make the British aero and automotive industry one of the most revered in the world.
We take so much for granted today and if it wasn’t for these extraordinary characters, their pioneering spirit and their forward thinking ideas we would not be where we are today.
FMH: How long have you been working on this project?
As I have mentioned this is the story I have always wanted to tell and is a contributing factor in why I became a script writer. I have been writing and rewriting this story and it has, over the years had several reincarnations.
FMH: At what stage are you with it at this moment? What do you need / are you looking for to further develop it?
Initially written many years ago as a film script, but as a new writer, I tried to cram 25 years of history into a 2 hours film. The feedback I received was disappointing but somehow encouraging and inspiring.
So, many drafts later, I now have a completed film script which focuses on the untold story of W.O.Bentley as a lieutenant with the Royal Navy Air Services during World War I.
This is complemented by my TV Series which has the potential to cover the 25 years of his story.
I am confident that both of these are now ready for consideration by industry professionals and am looking for specific individuals (Agents, Producers and Directors) and specialist companies that can help me develop this project, in its various forms, to achieve its full potential.
FMH: Do you have anybody specific in mind that you would like to be a part of your project (actor, actress, d.o.p, producer…)?
For the main roles the actors would need to be in their early twenties so my wish list would include some of the following, Taron Egerton, Bonnie Wright, Freddie Fox, Tom Holland, Jamie Bell and Joe Aiwyn.
As for producers then I think those involved with similar successful projects would be ideal and at the top of my list for example would be: Chrissy Skins / Jeremy Piven (Mr Selfridge)or Liz Trubridge / Nigel Marchant (Downton Abbey) .
FMH: What do you think stands out most in The Bentley Boys?
Although The Bentley Boys is based around fact, it is an original story with a unique take on British industrial history and it brings to life some of the many flamboyant and influential characters of the time.
It is an ambitious project with a clear theme about human endeavour, the personal trials individuals face, their persistence and their resilience to overcome these challenges.
The success of a period drama can show the audience a time and place in history that they want to engage with and understand better.
The Bentley Boys has something for all, excitement, rivalry, betrayal, tragedy and love.
FMH: Had you shopped it around before uploading it to Filmarket Hub? How did it go?
Over the last couple of years I have placed this on other script pitching sites including INKTIP and Shooting People and have received positive feedback from those who read the script.
Over the last eighteen months it has been entered into several script writing competitions and it reached the final jury stage of BAFTA-Rocliffe film competition in December 2016.
At the 2017 London Screen Writers Festival I pitched this at a Pitchfest session. A selection of the script was used for the ‘Actors table read’ and I was able to discuss the opening ten pages at a Euroscript ‘script surgery’ with positive comments and feedback.
FMH: What made you apply to London TV Pitchbox?
I believe my project is now at a stage in which it can be seriously considered and am keen to attend similar events where I will have the opportunity to pitch The Bentley Boys.
The London TV Pitchbox was an ideal chance and opportunity to pitch to a panel of industry professionals and to potentially meet likeminded people to build on my current network of film makers.
FMH: Do you think, as a director/screenwriter, is it important to be involved in all parts of the process of making a TV Show, not just writing it, but marketing it etc.?
I am very contented to be a screenwriter and do not have any ambition to be either a director or producer but to be involved with various parts of the TV process I believe it would be beneficial for me as I can observe and learn from the specialist and more experienced people within the industry.
I have been involved directly with some of my short films including various crew roles and I’ve even been an extra, my Hitchcock moment.
QUICK QUESTIONNAIRE
Three favorite screenwriters:
- Quentin Tarantino
- William Nicholson
- Steven Knight
Three favorite screenwriting books:
· Writing and Selling Screenplays
· Teach yourself screenwriting
Three favorite directors:
- Tim Burton
- John Ford
- Danny Boyle
Three favourite movies:
- Ben Hur (Wyler, 1959)
- Whiplash (Chazelle, 2014)
- Gosford Park (Altman, 2001)
