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.

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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.

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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.

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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