Turbulence - The Reading

I have been terribly remiss in not blogging about the reading of my feature script which was nearly a month ago now. 

It was a great success, better than I expected. Some random observations: 

 

Someone told me the Subiaco Arts Centre studio seats 110 and it was a full house which was very gratifying. I was delighted that many family, friends and colleagues were in attendance with even a delegation from work. This meant I was busy trying to say hello to everyone before the reading while also answering last minute questions from the cast about line reads and the like. The buzz was fantastic. 

I was surprised how relaxed I was. I expected that once I finished work I’d start getting nervous but the nerves never came. Not even when I was running later than I wanted with the peak hour traffic. 

The wine was fabulous. I’m sorry I only managed to have one glass. Too busy talking. I won’t make that mistake again. Well done new sponsor Happs! Your white wine was very nice. 

It’s the first time I’ve ever sat in the front row at a reading… next to Mum and Dad who I was really pleased to have there and who enjoyed themselves immensely. Yes, this is what I did with that outrageously expensive private school education you paid for. I’m sorry! 

 

Me with Dad in the background.

What a great cast we assembled!!! Thank you Matt Elverd, Kirsty Hillhouse, Gemma Sharpe, Clara Helms, Ben Mortley, Lee Sheppard and Vito de Francesco; with kudos to Vivienne Garrett for handling all the big print with such aplomb. 

While I’m thanking people – thank you Ric Curtin for recording the reading – it’s kind of a pleasantly weird sensation walking along the river listening to the words you’ve written come to life on your iPod; Cathy Prastides for the wonderful teaser poster; Michael McCall for hosting and not embarrassing me in front of all and sundry!; volunteers Tahlia and Becky for helping on the night; and lastly and especially Annie Murtagh-Monks for coordinating all the activities behind the scenes that make this happen. Sorry you didn’t get to experience the evening but I’m sure an authentic American road trip is adequate recompense! 

Fifty-nine feedback forms! I think the last reading I had it was more like 30-something. Lots of great feedback with only one brickbat (can’t please everyone I guess). The one amusing outcome – I’m not sure if they had run out of forms but there were some in the old format… for a comedy script read. So the question “What sections did you find funny?” was a little incongruous for a thriller but as is my normal style there was enough wit scattered throughout the script to garner some positive responses. 

The reaction afterwards was fantastic. People coming up to congratulate me, many who I did not know and assume were from the general public. Including a woman who told me her shy teenage son wanted to play the teenage character that was in one scene only (hope he survives the rewrite!). Plus extraordinarily kind words from colleagues mixed in with a blunt assessment from another. But that is what the evening is all about – finding out what is working and what needs work.

It’s fair to say I was on quite the high at the end of the night. Even as the stragglers (yes, I was one of them) were told off for being a tad too boisterous whilst the second half of Hamlet was being performed in the main theatre. T’was a fair double bill and all in all an excellent night J 

Director Tim Dean with Actress Gemma Sharpe

Since then the director and I have analysed the feedback forms, identified trends and areas to work on and have something like ten pages of our own notes for the next draft. Some exciting discoveries and planned changes including flipping a few elements on their ear which I love doing as a screenwriter. Instead of trying to make something work that simply isn’t gelling, you attack the problem from a completely fresh angle. The objective insight of a 100+ pair of eyeballs (yes, Vito, eyeballs!) is a powerful catalyst. 

Soon it will be time to knuckle down again and translate all the feedback and discussions into words on the page but for one evening at least it was all about celebrating the process in the public eye.  

Lastly, thank you to all those people who did attend. Thank you to everyone who took the time to fill out a feedback form and/or talk to me afterwards or text me or email me.

 

I really do appreciate it.

Please Fasten Your Seatbelts – Turbulence Ahead

The Preamble 

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.  

 

Turbulence:

 

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 20^th 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

Top Row: Vivienne Garrett, Matt Elverd, Kirsty Hillhouse, Gemma Sharpe. 

Bottom Row: Ben Mortley, Vito de Francesco, Clara Helms, Lee Sheppard.  

The Reading Draft

 

In many ways Script Lab is live theatre so there is a request to keep the Big Print (scene descriptions) to a minimum. I do another pass to take out what amounts to three pages of description, mainly to allow dialogue to flow without the Narrator having to intrude. This is a rhythm thing for this exercise only. Those descriptions would be important for filming but here might slow down the read. It makes the script look a little funny in places to my eyes but it's a specific document for a specific purpose.

 

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  

Q&A... on writing

As part of the upcoming PAC Script Lab (more of that in a later post) I was asked some questions by co-founder of the Perth Actors Collective, the indefatigable Annie Murtagh-Monks:

Many people are intrigued as to how writers get their inspiration for stories/scripts.

What triggers your ideas?

This is perhaps the hardest question of all for a screenwriter – where do ideas come from?  For me it could be an obscure news item or a snippet of overheard conversation or simply the question all screenwriters ask, “What if…?” The hardest one to explain is when I see a scene fully formed in my head. If it keeps reappearing I try and figure out what it means and what the greater story around it is. The greatest trick is to trust that you know a good idea when it comes to you, no matter how that happens!

What was it in this story that came to you first?

There were three main aspects. Firstly, Tim and I wanted to make a straight forward, low budget genre thriller as a reaction to not getting any traction (yet) on our big, sprawling conspiracy thriller. We explored a few scenarios but the one that stuck was, “what would you do if you found a gun and a list of names in a briefcase?” The other element came from a bizarre, real life news story that felt like it was straight out of a movie script.

Are you the kind of writer who writes only when the ‘inspiration’ fires? Up till all hours burning the night oil OR do you set aside allotted time each day or week to write in?

I consider myself an ill-disciplined writer yet I manage to write a lot of pages. When I’m “in the zone” I write prolifically. When I’m not I procrastinate like crazy. How to find that magic place where time slows and creativity reigns? If only I knew.

I’m certainly not someone who has set times every day to write. I admire people who can do that. Deadlines help me enormously. I think the hardest part is beginning – once you dive into the world of your story you get immersed in it. It’s getting to the keyboard that’s the killer – the usual self-doubts most creative people have. “Will it be good enough?”

Screenwriting is difficult at the best of times. You’re juggling story, character, tone, theme, pace, structure, a myriad of different elements. That can be daunting. When you get it anywhere near “right”, however, it is exhilarating.

What do you find easiest about writing film scripts?

The collaboration. Working with smart, creative people such as directors who share your sense of storytelling style and who you trust and respect. Script meetings, brainstorming, problem solving, working with actors on improvisations or workshopping scenes. Basically bouncing ideas off people to make the script better.

What most challenging?

After all the meetings and discussions, the reality is that screenwriting is very much an anti-social activity. You have to lock yourself away and write, for hours, for days, for months, in some cases for years. That can be really difficult and maybe is another reason beginning each day is so scary. You have to cut yourself off from the real world to some measure and lose yourself in your imagination and the world you have created. That’s why rainy, stormy days are my favourite writing days – less excuses to be out “doing things”!

Where do you get your ideas from?

What are your writing habits?

PAC Script Lab

The Perth Actors Collective run bi-monthly script readings with the support of ScreenWest and the City of Subiaco (plus other food/drink sponsors).

Actors volunteer their talents, local writers their feature scripts and the audience their feedback. It's an excellent initiative and one I enthusiastically support. Here's the testimonial I wrote last year...

I am writing in support of the excellent PAC Script Lab initiative where local screenwriters have the opportunity to ‘road test’ their screenplay with professional actors in front of a supportive and informed audience.

I have been both a writer in these circumstances and a longstanding attendee. These are the things I see at Script Lab which I believe are unique and worth fostering in the local film industry:

• Screenwriters and their work being put front and centre which is a rarity!

• Scripts given life by wonderful volunteer actors so that the writer can hear his/her words and assess the strength of the storytelling.

• The support of family and friends – sometimes overlooked but critical for the emotional wellbeing of writers who have to lock themselves away for hours on end to create a compelling screenplay.

• The critical and supportive eyes and ears of the industry. Much robust and constructive discussion/feedback happens at these readings which can only help the writer.

• The associated networking possibilities where actors, writers, directors and producers can come together in an informal atmosphere. This helps strengthen the local industry.

• Genuine possibility for producers and/or private investment to come on board which allows for the ultimate goal – getting the script turned into a film.

All these things are a true blessing for a writer and, for this reason, I encourage other writers to participate as well as recommending actors to volunteer.

If you're a West Australian screenwriter with a feature script in half decent shape then I recommend you enquire about having a reading. If you've never been to a reading check it out. Perth ultimately is a small film-making community and any form of support is greatly received.

The PAC Experience

Next week is the annual PAC (Perth Actors Collective) party where, amongst other things, the best actor, director and writer of 2009's screen workshops is recognised.

I haven't been for a couple of years. Ever since my no-show in 2007 where one of my writing colleagues believed that, due to my AWG membership, I wouldn't attend "award ceremonies" in support of my striking American brethren! He went on to win Best Writer while I picketed at home :-)

But it's made me think about my "PAC experience", somewhat of an institution in the Perth film community. I did some 8 workshops between 2005-2007. Before then I stoically ignored the constant stream of flyers that were mailed to me (mistakenly) thinking the workshops were more for actors and directors.

The catalyst for my change of heart? One of my feature screenplays made the Top 50 of the inaugural Project Greenlight Australia in 2005. If it went any further there was the distinct possibility I would be asked to direct things including, if I won, my script. Having never been to film school or used a video camera before this was a pretty scary proposition. So PAC to the rescue.

In hindsight, it was crazy to think I'd become a director overnight but the experience was beneficial in many other ways. The script - a first draft - was read at PAC Script Lab which was exciting and terrifying but it didn't progress any further in PGLA.

During PAC1 I shot two scenes - my first and only directorial pieces. At that time all the assigned scenes were either existing Hollywood (Witches of Eastwick seemed to be a big favourite) or Australian television scripts. I was given a Blue Heelers scene. It was terrible so I rewrote it, borrowed a friend's camera then muddled through shooting a two-hander. The only thing I remember from the review night was the comment about the low socio-economic location. It was shot at my block of units!

I enjoyed the experience but it reinforced that I am definitely a writer with no great passion to direct. It helped that we had a great PAC1 group - Henry went on to win 2 "Stani's" for overall excellence, I won 2 for writing, James another for writing and is nominated again in '09. As well as a small group of talented actors.

Onto PAC2 and I figured the only way to earn my keep was to write original scenes which I proceeded to do through the next seven workshops. By my last workshop in 2007 all the scenes submitted were original pieces as a talented crop of writer-directors and writers saw the value of honing their own narrative storytelling craft. Sure, there were some misfires but it was a chance to experiment and learn in a predominantly 'safe' environment.

PAC is also an excellent networking opportunity (no doubt helped by the proximity of The Belgian Beer Cafe to the King Street location and then Paddy Maguires when Annie moved to the Subiaco Arts Centre). Apart from friendships made, there are directors and actors I've worked with outside of PAC and who I keep in mind when writing, either for roles or as part of the creative team for funding submissions.

I can't stress this enough. Some people occasionally think it's "only PAC" but people are watching - to see who is talented, who is serious about their craft, how people work in a team or under stress. They also notice the tantrums, the no-shows, whether people are reliable. If you can't commit in the workshop why would someone take a risk on you in a paid gig?

I "resigned" at the end of 2007 because, in my mind, it was time to "graduate". Since then I've been developing feature film projects largely under the Forgeworks banner.

I miss the camaraderie of PAC, the challenge of writing original pieces in a short period of time, and that sense of community I imagine is similar to film school. One of the highlights was the night Charles "Bud" Tingwell spoke to us for about 90 minutes on everything from Richard Burton to The Castle. Fascinating and unfortunately all too brief.

I remain an avid supporter of the PAC Script Labs and who knows, one day I might sign up for a PAC2 workshop and have another swing at a few original pieces ...

Until then, I have checked with the WGA and I'm allowed to attend award ceremonies again, so come up and say hello on Thursday.