entry ten: filming elephant daydreams part one

filming elephant daydreams: part one

Still a work in progress. But here is a sneaky preview from the first day of filming. Adam, who is playing Lachlan, is in a show this coming week, and therefore is unable to film next week, so we have had to defer the night shots until the week after.

entry nine: elephant daydreams

Elephant Daydreams

Unfortunately, filming fell through with Fille, as our Jen was only free after the day the girl playing Olive moved countries. And although understandable, it’s still a real shame, as I was looking forward to capturing Olive’s story on camera. However, I have been writing another script (this one is slightly more morbid that Fille), so I plan on actioning that over the next fortnight instead. Conveniently, I have to drive up to Whangarei soon, which is perfect because that stretch of road is where I had planned on filming.

I haven’t fully decided on a title yet, but for the time being, the working title is Not A Funeral although I strongly dislike this, and would much prefer something non-sensical, completely irrelevant, and altogether misleading as to the content of the film (like Elephant Daydreams. Just because that’s my kind of jam. (My chickens are called Romulus Sunbeam and William Percival Wolfric Brian Severus Shakespeare.)

Elephant Daydreams

(Please excuse the horrible formatting; I had to put it onto a Google Doc to send to my actors, and as a result, the correct formatting was lost in the transition.)

Cast:

Cass - Daya Czepanski

Lach - Adam Ogle

Crew (to date):

Writer/Director - Grace Neely

For this film, as I was writing, I wanted something impactful, and quite different from the satirical nature of my other scripts. As I am a very sarcastic person in day-to-day life, the script still contains some black humour. But for the most part, it is a relevant and dark topic, but explored from a different angle. Rather than the POV of the sick protagonist, Elephant Daydreams explores the impact mental disorders has on the surrounding friends and family. 

entry eight: fille

fille

The first draft of the script 'fille'.

My first short film.

Shoot date: 12th August.


Cast:
Olive - Indigo Cody Paul
Jen - Brittane Clark

Crew:
Writer: Grace Neely
Director: Daya Czepanski & Grace Neely
Runner/Props and Costume Supervisor: Mya Cole
Locations Supervisor: Danielle Czepanski

entry seven: how the kiwibird lost its wings

How The Kiwibird Lost Its Wings

Almost a year ago, to the day, I went and saw a show called DNA at The Basement, part of ATC's 'Next Big Thing' Festival. One of the characters in particular stood out to me, a young school girl who gets dragged into trouble as a result of the poor choices others around her have made. Throughout the show, she progressively slips deeper into a depressive state, and it culminates with her mental breakdown. The actress playing this character, Daya Czepanski (originally a boy named Brian in the script by Dennis Kelly) was superb, and a few months later, we were cast together in Romeo&Juliet, with ASC.

Daya (right) in ATC's DNA

Daya (left) in Romeo&Juliet

~

Fast-forward to present day, Daya is one of my closest friends, and recently she has been working with Hawkins Youth Theatre Company, in Papakura, to stage How The Kiwibird Lost Its Wings, a play that Daya wrote and AD'd, based off the Maori legend. I was lucky enough to sneak into a rehearsal one day, and as a result, I got to take some photos of the show:

Kiwibird

Sam Czepanski, reading in for various characters (during lighting plot)

Narrator

Daya, reading in for various characters (during lighting plot)

Kiwibird

It was really great for me to sit in on this, as Daya isn't much older than me, and it shows that writing/producing/directing your own work is possible, and no less professional because of it. Daya has also been helping me edit my script, for my webseries, which I'm still working on, and can't wait to finish, so that I can begin filming!

entry six: the impossibilities

The Impossibilities

A couple of months ago, I was scrolling through Indiewire, and came across an article about a new web series, called The Impossibilities. The story follows Willa and Harry, two strangers who cross paths a couple of times throughout the series, until the final episode where their friendship blossoms. The wonderful thing about this story is that it breaks down the stigma around 'taboo' subjects, such as homosexuality and men allowing themselves to be seen as vulnerable. It is invaluable for these things to be seen as normal, especially for younger people, growing up in a world where diversity and choice is rapidly becoming more acceptable and talked about, in society (side note: thank you and congratulations America!) It also avoids all the typical cliché scenarios, which was (very) pleasantly surprising.

I binge-watched the entire series in one day (oops), and re-watched it again the following week. I really related to the gay, excitable, and slightly socially awkward character Willa (who also loves yoga), played by Kati Rediger, and emailed Kati, Ashley Springer (Harry), and Anna Kerrigan (writer/director) soon after finishing the series for the second time. I received wonderful replies from all three of them, and we've been emailing back and forth since.

So many of the cast and crew involved are female, and it's such an inspiration to see an example of gender equality in the entertainment industry, and especially pleasing to witness a first hand example of just how capable women can be! (Quote Piper from OITNB, anyone?)

(Netflix's Orange Is The New Black)

In a nutshell, I'm a huge fan of this web series, and it has really impacted my own work. I hope to stay in contact with these guys, maybe one day I'll get to meet them in person and thank them properly; not only for inspiring and incentivising me to pursue my series, but also for what it means for writers/directors/actors/technicians/cinematographers/etc in the future (especially young females.)

Thank you, The Impossibilities.

entry five: death and the maiden

Death and the Maiden

Director John Callen
(Known for playing Óin in The Hobbit)

Actor George Henare

(Known for playing Bennett in Once Were Warriors)

Actors Tatiana Hotere and George Henare

(Tati is known for her role in the T.V series Westside)

Tati Hotere

Tati Hotere and George Henare

Edwin Wright

(Known for Underworld: Rise of the Lycans)

George Henare and Edwin Wright

Edwin Wright, Tati Hotere, and George Henare

I have gone slightly off tangent. The thing is, I'm still invested in producing my web series. But I do a lot of that in my spare time, outside of Impact Project time. Every morning, on the bus, I work on my script. I often find myself doodling costumes, set, props, or character ideas in my lunch breaks at work. But most importantly, every time I catch up with my theatre/film friends external to ASHS, I am constantly asking questions. What does it take to produce your own webseries? How much does it cost? Is there funding available, and if so, where can I find it? How can I keep my story fresh, truthful, and believable, whilst avoiding the common cliché-moment traps?

I was in Newmarket with a friend of mine one day, who is the Producer for Newmarket Stage Company. I happened to have my camera with me at the time, and over lunch, he asked if I would be interested in being in charge of Photography for his latest play, Death and the Maiden. I was hesitant at first, because I thought it may be a distraction from my original Impact Project, but once Regan told me who else was involved, I immediately said yes. Not only was George Henare, one of my favourite New Zealand actors playing the lead, but Tati Hotere and Edwin Wright made up the rest of the cast, two exceptional actors whom I had admired over the years in various plays. But best of all was John Callen, the Director.

John is an idol of mine, I loved him in The Hobbit, and have heard nothing but amazing things about him at both Toi Whakaari and The Actos's Programme, two tertiary institutions I am seriously considering applying for once I graduate. I decided that, as Regan, George, and John had all had experience directing and understand how the industry works, plus they have the added bonus of age, meaning their knowledge is great, it would be a shame to pass up this valuable opportunity. We met for dinner, and John and I talked about writing, casting, producing, directing our own work, and how it works in New Zealand. Over the next month, I learned a lot about what it takes to make my own stuff, and as John had just finished The Hobbit, he told me about the latest technology, which was really fascinating. 

While I did loose time I could have been spending on my Impact Project, I would work to catch up in my spare time. From Death and the Maiden, however, I have learned so much, and I also got to spend the day taking photos, which as far as things go, could be so much worse! Regan has also asked me to be Photographer for his next show, at SkyCity Theatre, which is wonderful.

I had an amazing time working with these fantastic, talented, hilarious people, and I am so glad I said yes to this opportunity. It also has expanded my network, which is always a bonus. I'm so excited to bring all the elements of my webseries together, and add to it all the information I have learned as a result of being part of Death and the Maiden.

Love,
Spinach

entry four: a lesson learned

How To Write A Script:

For Dummies

This is a copy of the information sheet Nick gave me, on how to write and format a script.

~

My Original Script:

 

This is my original script. It was hard to read, and to discern between the action, actors dialogue, and setting. It also made it hard to judge timings, as one page should roughly equal a minute.

~

My Present Script:

This is my script presently. The layout is clear and precise. The characters names are in capitals, and in the centre, with the dialogue following below. All of the action and setting information has remained on the left-hand side, which allows the respective people (cast, crew) to quickly see where their most vital information is, in relation to their role.

~

In a nutshell, I have converted the script from a near-illegible format into something that is now comprehensible and professional.

Love,

Spinach

entry three: where are my manners?

(A small excerpt from the first scene: Charlie finds Mothball)

Introducing the characters

Brief character description:

Charlie:

20-30 y/o. Charlie is bored with his life, and is very cynical, in order to hide the fact that actually, he does have feelings. Fond of Mothball and Benjamin, Charlie cares deeply for these two as they accept him for who he is. (Being gay, his parents rejected him, and since his mother passed away, Charlie feels guilty that their last interaction was a fight.) He has a maternal-like love for them, as both are very innocent and childlike. Hobbies include reading, painting and writing. Charlie is intelligent, but downplays this as he believes it serves no real purpose in his life. Also a vegetarian and smokes (irony: saving the animals, killing himself.)

Mothball:

15-19 y/o. Mothball is mentally very childlike and innocent, but wonderful and a dreamer despite any hardships she has been through. Incredibly trusting, Mothball sees the best in every situation, which leads her into trouble from time to time. She also is easily distracted, causing her to get lost frequently, and is fascinated (in an innocent, adoring kind of way) by Charlie. Mothball likes to read, draw, climb trees and watch water drops run down the windows (despite being afraid of the rain.) Her parents are rarely mentioned, as it seems they abandoned her as a child. Also very flighty.

Benjamin:

10-14 y/o. Younger brother of Charlie. Born and raised in a different generation to his parents, Benjamin is far more open-minded and accepting, hence the reason why he is unchanged when Charlie comes out as gay. He is very bright for his age, perceptive, and enjoys banter with Charlie. Has a slight internal conflict due to his emotional immaturity (due to age) where he can't fully understand why Charlie and his parents didn’t get along, and suffers the repercussions from being caught in the middle of this. Benjamin enjoys studying insects, watching Animal Planet/National Geographic and eating Mothball’s pancakes (Charlie isn’t a very good cook.) Benjamin’s favourite book is The Juniper Game.

entry two: fickle as a pickle

fickle

ˈfɪk(ə)l/

adjective

1. changing frequently, especially as regards one's loyalties or affections.
2. 
   

Fickle. A good word to describe my relationship with my work. Especially when it comes to formatting and presenting. Originally, I was going to produce a short film. However, after meeting with my mentor, Nick, he told me everything I had been trying to ignore: This project is bigger than a short film. I am too in-love with my characters to let them fade into oblivion after 5-10 minutes of screen time. Plus, it doesn't help that I'm a rambler. I can't stop writing about these characters, whether it is dialogue, action, costume ideas, dream casts, etc. So I'm having to look further, and see what else I could do. For a while, I was sold on the idea of a web-series. But thinking about this now, I am somewhat limited. It would be by debut at directing, but then again, the same applies for if it were a play. I don't have the equipment for a web-series, but I also don't have a venue if it were to be put on as a play. I have limited knowledge of directing screen, but simultaneously, I have written it as if it will be shot for screen. Hmmmm..... Hopefully, before the project is due, I will have a solid idea of what I want. Then I can go about making this happen. But in the meantime, let's just focus on finishing the script.

Today, I was excused from school, as I had been invited to sit in on/photograph a rehearsal for Death and the Maiden, written by Ariel Dorfman and directed by the immensely talented John Callen. This was a fantastic opportunity, as I get to see the process a director goes through in order to stage a show, almost as if I were a member of the audience (rather than an actor/stage manager, who is intimately involved throughout the whole process.) It also provides a platform for me to work off, with networking, experience, and an ever-growing knowledge about the industry. Hopefully, I will be invited back, and can continue to learn what it takes to direct a show, before going on to do so myself.

After the rehearsal, I spoke to my friend Regan Crummer, who is producing the show (and who got me in there in the first place.) Regan has directed shows in the past (and present), and we had a good discussion about what it takes to be a successful director. Some key points are:

• Every actor is unique:
  Pay attention to your actors, how they interact, how they learn, etc. If you, as the director, have a particular way or working, keep in mind that this may not always apply to everyone, and ensure that you remedy your methods if they are unsuccessful. This applies to production crew too. Learn how people tick, and find a middle ground where everyone can work harmoniously.
• Don't be afraid:
  When directing, it is easy to get caught up in the vision that you have. If there is a certain way you wish to see a scene, talk to your actors about it. Back everything up with evidence, and do not be vague. Take the time to clearly explain the vision you have, and don't be afraid to put your foot down every once in a while, in order to stay true to your beliefs. However, in saying this, a good phrase to regularly throw around (and make sure your actors know you are comfortable with this) is "yes, and" rather than "yes, but." This way, everyone can accept others ideas, but also feel safe to contribute their own thoughts, without the fear of shutting another down. However, regardless of your role, not every idea can be used, and learn not to take it too personally if it chosen.
• Drop the "I":
  There is nothing worse that trying to collaborate on a team project, and having one person in the group dictating, and shutting everyone else down while they talk about themselves. Instead of saying "I think that...", approach the topic from a more open perspective, such as "how about we try..." or "what do you think of...". This way, the idea is presented in an open way, which allows for and encourages discussion, and creates an atmosphere that de-personalises the idea, in case is doesn't end up being used.
• Do the research and allow time for discussion:
  Know the text back-to-front. You need to not only need to know the plot, but also the characters and their histories. In Death and the Maiden, there are a lot of references to events which happened over a decade ago. John Callen regularly would stop the scene, and discuss with the actors where their characters were. Had Paulina got the right man? Did Roberto recognise Paulina right away, or was it something that built over time? When Paulina refers to her husband, does Roberto assume she has already murdered him too, in order to make her revenge more thorough? As the director, knowing the history as well as the present text is invaluable, as it creates a deeper level of thinking, and thus a more engaging and truthful performance.

I hope I have covered everything from today, but if not, hopefully I can return to NSC next week, and continue to learn about how to successfully direct, then apply this to my own writings, which I have been continuing to work on in my own time.

Love,

Spinach

entry one: the first two weeks

This is a writing from the present, about the past. The first two weeks were really about me just finding my feet, in a new school, surrounded by new people, working on a new project. However, one of the main reasons I chose to move to ASHS was because of Impact Project. I have a rough idea of where I want to go in life, but when it comes down to the specifics, there are too many choices. Do I direct? Do I act? Theatre or screen? Why not both? What about my love for all things in fine arts? Photography? Stage management?

I have been acting in theatre for most of my life, and I feel like I know it pretty well. Ideally, I will be a full-time, financially stable actor for the rest of my life. Realistically, this is not going to happen. Instead, I must broaden my horizons. So while acting is the main love in my life, there are so many things that fill me with an unexplainable joy. And as a result, I have decided to dedicate my Impact Project to exploring these potential careers further, starting with a short film/web-series/play.

Introducing: taxtidermists&nostalgia.

The idea for this short film/web-series/play came to me when I was in one of my favourite places; sitting in the magnolia trees in Albert Park, roughly around mid-to-late 2013. At the time, I just entertained the idea, drawing sketches of the three main characters as I saw them in my mind. I also wrote two short scenes, but looking back on them now (while they gave me the inspiration to continue with this project), they are not a good representation of my skills as a writer/director, and subsequently will never see the light of day. I am pleased to say, however, that my talents have improved somewhat since then (at least, I hope they have), and I look forward to updating this blog over the next year, as I go about bringing my ideas to life.

Love,
Spinach