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