I’ve posted about PAC Script Lab before, a wonderful
initiative run by Annie Murtagh-Monks and supported by ScreenWest with many
other sponsors involved.
Held at the Subiaco Arts Centre every couple of months, the
reading of local feature screenplays provides a unique opportunity to road test
a script in development.
This Wednesday evening my thriller script, with director Tim
Dean, is being read.
An
unprincipled lobbyist flies into Perth to close a multi-billion dollar deal.
After a mix-up with a woman on the plane he ends up with the wrong briefcase.
When he opens it he discovers a gun and a list of names with only one not crossed
out. To complicate matters, his briefcase contains a folder that implicates him
in fraud and corruption relating to the business deal. The lobbyist desperately
wants the folder back but in return the woman demands that he find the last
person on the list… and kill them.
The Inciting Incident
There I was hidden away in my dark, damp, Goldman-esque pit doing
all the things screenwriters do when they’re working on a script – checking my
email; writing witty updates on facebook; researching obscure facts on the internet;
re-cataloguing my DVD collect-- *ahem* - punching out page after page like a
machine… when, well, damn it, it was time for a shot of actual and metaphorical
Vitamin D!
Yes, screenwriters need a little love too sometimes. What
better way than to…
…showcase a brand new
script…
…to a room full of…
…complete strangers…
…and ask for their feedback.
What
have I done?!
*Gulp*
The Special World
Fast forward to early February and I‘m sitting in my
customary spot - the back row of the Subiaco Arts Centre studio. Annie is
making the usual introductions; I’m sipping a wine, relaxed, and waiting to
hear Reg Cribb’s latest screenplay, safe in the knowledge my reading isn’t
until 27 March. Plenty of time to work on the scr--
“… and the next Script Lab will be Richard’s Hyde’s
Turbulence on the 20th of March.”
My wine sputters all over the entire row of patrons in front
of me and I possibly flap my arms in wild-eyed bewilderment as I want to
scream:
“That’s one whole less
week to procrastinate!!!”
There’s no turning back now though – the date has been
announced; the project declared. Time to --
Get down to work
One of the things I like about now working fulltime is the
monthly paycheck. The part I don’t like so much is getting up at 6am and working
fulltime… especially when you still keep writers’ hours at night. However;
there’s a draft to punch out, the fear of impending public humiliation a
powerful incentive.
Some things to consider: this is a first draft; I no longer
have the luxury of time what with that whole “going to work for a living”
thing; I have an immovable deadline. That last fact is my saviour.
As are these two - the structure
is pretty solid as the director and I spent a lot of time getting the beat
sheet right before I wrote a scripted word; and, praise be, I have a critical
voice, my director!
The writer-director
relationship
There’s probably an argument to be made that there are far too
many writer-directors in this country but that’s a debate for another time.
Other than to ask this, who is the critical voice that makes them strive to
make the script better?
In my case it is the director, Tim Dean, who was involved from
the inception of the project and shares a story by credit. He gives very
precise notes and won’t let me get away with being lazy or cheating or going
off on tangents.
For example, there is a scene early in the first act that he
kept coming back at me over. It’s an important part of the setup but, for him,
wasn’t quite working. Time was at a premium so I was giving him chunks of
rewritten pages as I was working through the script. I was happy enough with
the scene but he kept pulling me back to it. So I reworked it… and reworked it…
and now it has a greater sense of urgency and is more revealing of character.
Eventually two drafts were written in just over a month…
PLUS a reading draft but we’ll get to that later.
Time to Cast
Tim and I go to Annie’s home one evening to discuss the
casting of the reading. I have a few names in mind and, of course, Annie is,
amongst other things, a casting director.
She really likes the script and I get free script notes
including a couple of logic holes that are subsequently addressed. Then it’s
down to the fun part – who do we want to bring these characters to life.
While it’s only a reading, every attempt is made to cast it
as if we were filming. Preferred options are discussed and nominated;
alternates also chosen if there are issues of availability.
In short, I am very happy with the reading cast, most of
whom I know in person or by reputation and are fabulously talented. It’s also important to note that they
are volunteering their time not only for the reading but a rehearsal
read as well. For that I am extremely appreciative and grateful.
Cast from
The Reading Draft
Tell all your
friends!
PAC Script Lab is quite the slick operation now – social media; press
releases; a radio interview that you can listen to here; promo poster and tag
line; the finalising of the feedback form for the audience to fill out after
the reading; volunteers on the night; a sound recording of the read; even a
Q&A that you can read here - all masterfully coordinated by Annie.
Thank you also to Cathy Prastides for designing the poster
which has had a very positive response.
Now all that’s left is to sit back, sip my wine and be open
to all the feedback that is about to come my way. This is an important part of the
development cycle for our story and my sincere hope is that all this scrutiny
will enable Tim and I to make the script even better.
I look forward to seeing you there. You can RSVP to pac@screenworkshop.com.au if you
wish to attend. If you do, make sure to come up and say hello.
Richard Hyde
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