Troy has sparked new interest in classics at universities and is getting classics professors all worked up. But Witness screenwriter Pamela Wallace believes Troy represents everything that’s wrong with Hollywood:

“I could teach bad screenwriting from that script because it did everything wrong,” she said.

In Sydney for a screenwriting seminar with Hollywood script consultant Kathie Fong Yoneda, Wallace details Troy’s flaws from a writer’s perspective – it has no clear central character, many characters that are poorly developed, a meandering middle section, a weak and unresolved romance between Paris and Helen, and no one for the audience to barrack for.