DEBRA HAYWARD - WORKING TITLE FILMS

What is the level of creativity in the UK'

People are really ambitious: the levels are high. But you can never have enough great ideas, great writers and great material.

Are individual voices shining through'

I think they are. And there's a great tradition of individual voices in this country. What we need is more opportunities for them to make their way onto the screen.

Can you discern any genre trends from the material you're receiving right now'

There's such a strong tradition of comedy writing for television in this country: I feel that is definitely translating to film a bit more than other genres. We also see a lot of thrillers and generally the standard of writing is better and better.

Which scriptwriting schemes and initiatives do you particularly rate'

We try and be egalitarian and look at projects from many initiatives. We sponsor a number of schemes for new writers and directors.

JAMIE LAURENSON - EXECUTIVE PRODUCER, BBC FILMS

What is the level of creativity in the UK'

You always think it would be great if there were more people out there you could turn to. But at the same time it does feel as though there are a lot of new names, new voices coming through at the moment who are capable of writing interesting and commercially viable feature films.

Are individual voices shining through'

There is a positive feeling about the range of people out there.

Can you discern any genre trends from the material you're receiving right now'

As a genre, drama is the most developed thing around. We don't have a tradition of developing to genre in a way that maybe they do in the US. And at BBC Films we don't get a glut of horror submitted, for example, because we're unlikely to make them.

Which scriptwriting schemes and initiatives do you particularly rate'

The BBC are involved with both the National Film and Television School and the Script Factory, both of which do very good work in the nurturing of new writers. Within the BBC, the Writer's Room and The Writer's Academy set out to harness new talent and find the right places for the right voices.

JO McCLELLAN - NEW TALENT EXECUTIVE, FILM4

What is the level of creativity in the UK'

Overall it's really hard to find people that have an understanding of the marketplace combined with a certain level of ambition, and who are also doing something different. And that's what we're looking for.

Are individual voices shining through'

You have to really look for it. We do a lot of looking at theatre, because somehow in the theatre you're allowed to have a big, bold idea. You're encouraged to think incredibly creatively. But then obviously not everyone can make that jump from the theatre into the screenwriting world.

Can you discern any genre trends from the material you're receiving right now'

What we've seen a lot of recently is stories about teenage boys, young coming-of-age stories, sometimes a bit gritty. People are really trying to do teen movies but somehow not pulling it off and I really wish they could but it's a very, very difficult one to do without emulating the US. People are also trying to 'punk up' period projects.

Which scriptwriting schemes and initiatives do you particularly rate'

We look at the Nfts (National Film and Television School) and I also go down and talk to the London College of Communication. I go to pitching sessions and that kind of thing. And also Goldsmiths for its MA in screenwriting. I really keep an eye on Coming Up, the Channel 4 drama department scheme, because they match writers and directors. That's a really great place to find new writing voices.

COLLEEN WOODCOCK - HEAD OF CREATIVE AFFAIRS, PATHE UK

What is the level of creativity in the UK'

I came back to the UK in 2001 and was stunned by how many things I read that didn't have an understanding of the marketplace and what was required to make something a viable, financeable film. I don't know if it is because of training or because there's a new crop of film-literate young people but there's a lot of really strong young talent out there. We're seeing spec screenplays that are really polished.

Are individual voices shining through'

A lot of young writers are adhering to genre conventions and writing horror or thrillers or comedies that they can see a market for. There are also some fascinating original voices out there writing less obviously commercial stuff.

Can you discern any genre trends from the material you're receiving right now'

There's quite a lot of horror. There are a lot of writers out there steeped in the genre, who have loved it for years. And also it's so viable at a low budget.

Which scriptwriting schemes and initiatives do you particularly rate'

There are some really good courses out there now. The Met Film course is the first to my knowledge that incentivises writers by paying them for stages of the writing process. In America people write because they're incentivised: they're not going to starve.