By now, you’ve probably heard all about how over 40 VFS graduates helped create the stunning visual effects in District 9, one of the year’s top film successes – both critically and at the box office.

But before all the visual effects, before the media buzz and the accolades, Writing for Film & Television grad Terri Tatchell was working hard with District 9‘s co-writer/director and 3D Animation & Visual Effects alum Neill Blomkamp to break one of the most unique sci-fi stories to hit the big screen in years.

We caught up with Terri before she set out for District 9‘s European press tour. Here’s how she describes her experience co-writing her first produced feature:

Hi, Terri. Thanks so much for the finding time for this. First of all, congrats! District 9 is huge. How do you feel about the film?

Terri: I am still pinching myself over District 9’s success. I was lucky enough to see the cut at various stages and knew that it was going to be something that I would be incredibly proud of. However, I never imagined it would be so well received by such a wide range of people. It isn’t the most traditional film – so you never know. It has definitely been the best-case scenario.

Could you explain how you hooked up with Neill Blomkamp to tell this story? How long have you known each other?

Terri: Neill and I met in 2001 through mutual friends at Rainmaker (we both worked there but at different times) and have been “partners” since 2002. We moved to New Zealand in 2006 when Neill was hired to direct Halo. When that fell through, we jumped at the offer to make District 9.

From everything we’ve learned about Neill through interviews and the media frenzy surrounding this film, District 9 sounds like it was rooted firmly in his experience growing up in South Africa. What was your writing process like for this script, considering your different backgrounds?

Terri: The film is definitely rooted in Neill’s experiences growing up in South Africa. He moved to Vancouver when he was 18 years old and has understandably been quite obsessed with everything-Johannesburg ever since.

We’ve been back every year, and I’ve spent the past seven years soaking up every fascinating nuance of a country that, to me, honestly feels like science fiction even without the aliens. I don’t think I could ever get enough of it. I am constantly surprised by new elements of the people, the history, and the energy of the place – in a good way. There are endless stories that could come from such a rich country. So stepping into the project, I already had an intensive “Neill Blomkamp understanding” of what elements were important to him, which helped in crafting the story.

Neill’s focus was very much the traditional action and the “wow” factor, while mine was more the character development and emotional bits. Not to say that we didn’t each contribute to the other’s work, but those would have been what we considered our areas of expertise as we wrote. Neill relies very much on his instincts while I am a bit more focused on structure. Neill learned structure from me, while I learned to trust my gut from him.

The first month of writing, we met with Peter Jackson, Fran Walsh, and Philippa Boyens for roughly four hours a day. What a gift that was! Neill and I had collaborated on short scripts, but never a feature. I wondered how it would work. I can’t imagine more gifted people to learn from.  After that, Neill and I worked separately, just passing the script back and forth every four days or so.

You graduated from the Writing for Film & Television program back in 2001, when it was only four months long. What role do you think that played in your development as a writer?

Terri: I completely credit Vancouver Film School with putting me on my path towards becoming a screenwriter. While the course was only four months, it was enough to figure out that I was hooked and provided a solid base from which to move forward and continue learning. I’ve since attended countless seminars, read every book I can get my hands on, and even shot a bunch of things myself to try to hone the writing. I can’t imagine ever feeling like I’m done learning.

For everyone involved, District 9 appears to be a career turning point. How do you see this success: as an acknowledgment of the last eight years of your writing work, or as a total surprise?

Terri: The financial and critical success of District 9 has come as a surprise to everyone, I think. Even Neill. I certainly wouldn’t be so enamoured with myself to think of it as an acknowledgement of my last eight years, but rather an acknowledgement of Neill’s incredible talent and visionary directing, combined with every single person involved who absolutely gave their all to the project. Neill’s passion is infectious and you suddenly find yourself achieving things you wouldn’t have thought possible just because he raises the bar that much higher. Everyone, and I really do mean everyone, did exceptional work on District 9. I am just so proud of all of our work.

What happens now? Are there any projects you’re hoping to take on in the near future?

Terri: I am nearing the end of a feature script, which is an adaptation of a short film by Trevor Cawood called Terminus. If we are able to get it greenlit then it will be Trevor’s debut as a feature film director. He is incredibly talented. While I’m writing this one on my own, he has worked with me on the story, and I love the collaborative side of things. I can’t stand writing in a vacuum. I also really enjoy being part of the process right through to the end, and the best chance for that as a writer is to build trust with the director. Writing for a specific director seems to me the best way to achieve that.

Everything I’ve learned from pre-production to shooting and editing has informed what I’m writing now. I can’t stand the thought of just handing off pages and walking away.

Thanks for your time, Terri! Best of luck with Terminus!