St. Albans Film Festival Is Coming… Are You? December 20, 2012

Looks like St. Albans is going to get its first film festival next year from 8th – 10th March, conveniently called the St Albans Film Festival. And if you’re a filmmaker, then you still have time to submit.
 

 

The regular deadline is 28th December so if you’ve got withoutabox then pootle on over to there and click the buttons. The next deadlines (will obviously be a bit more expensive) are in January so GET A MOVE ON!

 

And the reason I’m excited about the festival? Because:
 
a) It’s on my doorstep
b) There are some amazing things in the pipeline for the festival
 
and
 
c) I’m a judge

 
St Albans has been a popular location with the film industry not only because of its close proximity to some of the leading film studios such as Pinewood (Superman, James Bond); Elstree (Star Wars, Indiana Jones); and also Leavesden (Harry Potter). But also because it’s relatively close to London, a 20min train trip (if you get the right train).
 
It’s been featured on TV (Life Begins, The Inbetweeners), film (The Birthday Girl, Johnny English) and Arthur Melbourne-Cooper – the pioneer of moving pictures – was born in the City. Stanley Kubrick came to settle in the area and remained, crafting his prolific works. The Shining was finished there, and Full Metal Jacket and Eyes Wide Shut were started and completed there. He also used to only leave the place to buy his bottled ink from Ryman, y’know, the very shop I used to work in.
 
So checkout the website: www.stalbansfilmfestival.com
 
Look at the Facebook page: StAlbansFilmFestival on Facebook
 
Peek at the Twitters too: StAlbansFF

Interview With A Playwright (Part Two) December 7, 2012

Regular readers (if there are such a thing) of this blog will remember that I was interviewed by a lovely French lady called Vanessa Jaunet back in August. The first part can be read here: Interview With A Playwright (Part One)
 
Maybe because it’s the translation of the French to English, but I find Vanessa’s questions really pure and quite probing. Their simplistic nature catches me off guard, like when you think you know how to get to somewhere but then as you start off your map unravels…
 
Vanessa has kindly said I could post the second part of the interview up here.
 
Do you believe that the main character of a story is always connected with the writer’s personality?

Good question. My response is that I rarely put all of my personality into my characters as that can be extremely painful (or at least odd) to hear aloud or see. What I will say is that I thread in elements of my being more than I realise, but I don’t do it purposefully. At a post show Q&A for my play, “I Still Get Excited When I See A Ladybird” I was asked if there were any bits of me in it. And there were – fragments of my life or my thoughts or those close to me. But I’d never flag them up as to what they are because that’s not what a play should be about. It should be about what it reflects onto the audience and what they take away from it. I think the main purpose of writing is to excavate ourselves as humans – we’re unfurling an idea of how we’re trying to understand the world. So to a point you do write with a connection, but it could possibly be the disconnection of yourself to those around you and we’re seeing the exploration.
 
 
And do you think we write to speak about something hidden inside us as a therapy?

I think I personally write to understand myself a bit more, to understand myself as a human and the effect we can have on each other. Other playwrights will disagree, but I don’t think you can rely on writing as a therapy. Even if you were to write nonsense you’re still confining yourself to sentences, punctuation, grammar and the urge for a structure. I do, however, feel that you unlock different caveats of innermost thoughts when you write… But it could be that you never use them but the journey was there to inform your writing.
 
 
What do you find more fulfilling writing plays or seeing your plays on stage?

Writing plays is a long stint of anything I do and seeing them on stage is the goal obviously. But that doesn’t always happen so you become mother to these piles of pages that you desperately want to morph into real movements on a stage… So I’d say, for me, it’s a strange concoction of the two. I realise the ultimate goal of any script is seeing it on its feet on a stage in front of an audience… But there’s also a perverse notion of whittling down your idea in your head on to the page and the motion you take as a writer to do so.
 
 
What do you feel when an actor acts your words?

My brain is always looking to work on the next project so as soon as I’ve finished one script, I’m on to another. What this means is that I more than often don’t remember what I’ve written. Actors could fluff whole paragraphs of text and I may get the notion that they’re saying it wrong, but I wouldn’t be able to tell them what is correct. It is an alien sensation to watch something that you have pinned to the page, as a two-dimensional act of printing words on paper, suddenly unfurl into real living human beings. I feel extremely grateful whenever I’m in that position because the theatre industry is a busy one, and when you get the opportunity to truly see your work come alive, you realise why you still do it. No matter how many times it happens, the first time I watch a piece of my work with an audience my heart sits at the back of my throat and beats loudly, my ears feel like they’re breathing. You’re an unidentified speck in among a crowd and no one knows you’re the one responsible. You try and not make any sudden movements, breathe too loudly to not draw attention to yourself. But at the same time you’re trying to read your audience – are they focused on the action? Are they laughing? Are they crying? You find yourself trying to decipher different types of silences. Your body becomes this sensor and overrides your ability to sit and receive it like the rest of an audience. That’s what it feels like to me and I crave all of that.
 

Zimmy Ryan in ‘mph’ at Battersea Arts Centre

 

Josh Darcy and Geraldine Alexander in ’18+’ at The Miniaturists

 

Dan Abelson reading ‘The Thump You Feel When You Fall’ for Soup To Nuts Theatre Company

 

If you could choose any actor for your plays who would you choose?

I’ve always wanted to work with Eddie Marsan. I think he’s got such an intricate way of expressing his character, his face especially. He’s a really physical actor I think. I’ve seen him play fragile and also gut-wrenchingly disgusting and his range is superb. I’d be very happy if I got to work with him, I’d be ecstatic!
 
Peter Capaldi is another actor who I have huge respect for because of his range, his eyes are so expressive. Alfred Molina is someone who I would openly beg to be in one of my plays, his voice is brilliant. Philip Seymour Hoffman is another actor that I would do anything to get to work with. I’m being cheeky here and listing more than one!
 
Female wise I’d really like to collaborate with Laura Linney, I adored her in The Savages (a film I wish I had written, Philip Seymour Hoffman plays her brother) and she is phenomenal in You Can Count On Me (also a phenomenal film). I’d jump at the chance to write specifically for Julia Davis, she inspires me with her approach to writing when she merges the dark with the tragicomedy of life. Tilda Swinton, now there’s a lady I would sell what little I have to put on a stage with my words, she’s powerful. And who wouldn’t want to work with Olivia Colman? She is superb.
 
 
Would you been interested to write a movie? Or even to direct one of your plays on big screen or TV?

I initially trained in writing for film and television at Bournemouth University and would love the opportunity to write for the screen. I’ve dabbled with short films as they’re cheaper to do and more flexible, but I haven’t put my heart and soul into anything larger as my heart is truly in theatre. If someone where to give me the opportunity though I would definitely jump on it. As for directing, I have done some in my time but I would never take on that role right now. Not whilst I’m still trying to make a name for myself with my writing. There are plenty of other people who do that job well and sometimes having a fresh set of eyes on a piece can raise it higher than you realised.
 
 
Have you ever considered writing a book using photographs you have taken because I understand you are a keen photographer?

When I write I’m always thinking of the visual impact on an audience, what they will see and always aim for striking images. So I suppose I’m very visually led and I often get distracted by colours or naturally framed objects when I’m travelling around. I’m a very spontaneous photographer. If I tried to go back to using proper cameras and plan things I wouldn’t get what I’m after. I use my iPhone and nothing more. It’s handy because I always have it and I can take pictures of people without them realising too. And if I’m honest I take photographs for my own pleasure, things that catch my eye, and then share them online (Facebook/Twitter) if they’re interesting or representative of where I am. People seem to enjoy them, but they’re just moments that I’ve seen and tried to capture. A bit like holiday photographs really, for some people it’s interesting and for others it’s boring.
 
I like taking photographs when I’m out and about. I live in a rural village so there’s lots of natural beauty, but I would never call myself a photographer as such. When I was at school I studied it as an A Level topic and the frivolous nature of it all appealed to me. I could wander with a camera and just see what stories unfurled before me. Occasionally I’ll look at a situation that’s going on around me and I’ll reference photographers in my head, “oh that’s very Martin Parr” or “that reminds me of Bresson”. Aside from that I’ve forgotten all knowledge of the darkroom, the chemicals, the lenses. It’s sad really, I’ve forgotten a lot of the things that I used to do when I was younger. I miss painting but my attempts now would seem idiotic, painfully naive. I also miss dance, that too would be a horror to see me do.
 
 

 

If you could be collaborated with another playwright who would you choose?

Good question! I have a feeling that it fluctuates every time I see or read something. But I’ve always wanted to melt my brain with Martin Crimp’s and see what came out. I’m pretty sure I could write a raucous collaboration with Simon Stephens too. 

Use Your Voice, The One That You Learned (#baccforthefuture) December 2, 2012

 

If you don’t know what’s going on with the intended exclusion of the arts from the English Baccalaureate then I suggest you find out. There’s been a statement released from the Writers’ Guild with support (and quotes) from Lee Hall, Arnold Wesker and Fin Kennedy (whose brilliant blog it sits on). Please go and read the statement here, then go sign the petition here, and then find your local MP and write to them with your story. There’s a template you can use on the petition website, but I would urge you to make it as personal as you can. Mine is below and I’m awaiting a response:

 

Letter to Peter Lilley

London Threeway For New Work (@uglysisterprod & #SP4TT2012) November 1, 2012

 

 
I’ve got a short piece on as part of Ugly Sister‘s The Story Project 4 which means I’ll have my work performed as part of their curated line-up at three different venues on three different nights. It’s my first time working with this theatre company and they seem like Lovely lassies which is always a bonus.
 

Dates and places are as follows:
 
Sunday 18th November – The Arcola 

Monday 19th November – Theatre503 

Sunday 25th November – Southwark Playhouse

 
I’m extremely thrilled that I’m going to have some work performed at the Southwark Playhouse because out of the three, I’ve yet to be performed there. The brief was nice and open taking the title, ‘Tears, Terror and TwentyTwelve’ and a ten minute mark with basic props/set. As I’ve mentioned before I like having restrictions and this was a great task.
 
I’m chuffed with how my idea, ‘Lifetime Subscription‘ came together. I’ve written for two female voices which, for me, is a rarity but is fast becoming a good habit. The conceit is bold and quite expressive of how I feel as a person reacting to our current climate regarding tragic events reported in the media and the collective response. I’d like to think it holds a mirror up to a lot of folks and makes them think about their human response and the emotive responsibility we have to each other. It’s dark. And I enjoyed writing it. I don’t want to give too much away because it hinges on you being there in the moment. As far as I’m aware it’s the last thing I’ll have on this year that’s been asked of me so do come along to support all us writers and the company and if you want to buy me a gin you’re more than welcome. But do come up and say hallo because it’s nice when humans do that to each other. 

Assurance From Something Completely Different October 20, 2012

I’ve become addicted to watching Andre Rieu concerts. I’d never heard of him until a rare moment of absent-minded television watching a few months back. I rarely watch television and when I do I try to watch something that will broaden my education. By that I mean I don’t watch reality television or soaps. I like to think that everything I imbibe is part of a bigger picture, not a moment for my brain to press pause and reduce in size.
 
I used to play violin in an orchestra when I was younger and I miss it. I wouldn’t call myself a classical buff with knowledge of composers and periods, but I have memories of playing particular pieces and I listen to the composers I know and like. I stumbled across a classical concert on television and from the first few moments I was hooked and I’ve worked out why.
 
Andre Rieu’s main aim for each performance is “for people to have an unforgettable night”. He talks to his audience, he tells stories and more importantly he entertains. He plays as well as conducts and stands up for the entire two hour (plus) concerts. He and his orchestra completely embody the theatricality of performance and I think that’s why I feel so anchored in when I watch them. He’s renowned for opening up classical music and making it accessible to a wide audience and not just classical fans. There are small moments of rehearsed frivolity threaded through the performance and although you know they are planted they remain fun and fresh and just underline how much these musicians enjoy their job. From the outset it may look like another stuffy classical concert and I understand the garish ballroom-esque dresses do promote that. But the entire production is a grand celebration of the spirit of music and the impact it can have. It strips classical music of it’s uptight nature and welcomes the audience to revel in it’s new laid-back costume.
 
I’ve watched a few of his televised concerts and each one brings with it the wonder and spectacle of the audience. I wax lyrical about how envious I am of the gathered crowds that attend these concerts. They are from all walks of life and all ages too. They dance in their couples when a waltz strikes up, they clap along en masse when enjoying themselves and they sing along in their droves when the mood takes them. And they’re captivated. They cry when the music proves too much, they hug each other when a traditional song from their country is played. The sight of seeing 8,000 people link arms and sway for Auld Lang Syne is pure magic especially after he invites the European Pipe Band to stand among the audience:

 

 

They are there to be entertained and they do not go away empty handed or less of heart. And even better is he commends each and every one of his performers, he insists they take several bows so the people can applaud their hardwork. He even drags out the stagehands to do the same at one point. He is a performer who knows the hardwork that goes into a performance and celebrates it by exposing what goes on behind the scenes.
 
[Admittedly some of the flourishes in the production are very traditional (the elaborate wide shots, the choice of some modern songs .etc.) but even a layman can see the awe-inspiring quality to it all. The very fact it's filmed with several cameras is rare for a classical concert to begin with.]
 
The concert he did in his home town in Maastricht Square is a joy to watch as it documents the passing of time with the night sky unfurling as the concerts goes on (his Berlin concert is in an amphitheatre but the intimacy of the Square seems more potent). He always provides a plethora of special guests and you can see the pride he has of performing in his own homeland. He’s a relaxed performer and a charmer to listen to, a true showman leading his motley crew to entertain everyone within listening distance. He quips in this concert that he asked the surrounding bars and cafes to shut whilst the concert was on, to which they said no. Instead they stopped serving altogether but lined up tables with buckets of wine and champagne for those who didn’t get tickets to sit and listen to the concert.
 

 
The reason why I admire what Andre Rieu sets out to do, is he unites a collected audience of all social classes, ages, creed and treats them as one person to move, to entertain, to reach out and touch. And he succeeds. I write theatre to do exactly the same, to promote that it’s not just for a particular select few or other theatre-makers. I do it because I have stories to tell that are from different perspectives and I want to represent them in all that I do. Whether or not you think you don’t like classical music (or theatre for that matter) you cannot deny that these people are fantastic at what they do and the charm they exude on their audience is moving. It’s a selfless act that has rippling repercussions and it’s a reminder, at a time when I’m constantly in doubt, of why I do what I do.
 
(I can’t find a full version of one of his concerts subtitled – the Dutch man talks fluent English, French, German, Italian and Spanish – but enjoy nonetheless, especially the threat of an impending storm as lightning fills the sky ominously beginning at 11:57 on the video below…)
 

 
Also – if anyone would like to buy me a ticket to see him in December in London I would be eternally grateful and probably weep with joy. I’d like to say this is one of my usual quips, but I really do mean it.  

Looking Backwards But Moving Forwards September 30, 2012

 
Several incidents have tumbled into my view the last month and all of them chime with each other in a manner of ways. We had to put our beloved dog down which still hurts – the hardest and easiest decision I’ve had to make. With a constant swathe of self-reflection taking over the home it’s been a case of paddling in the past trying to make sense of the now. It’s a time when the hours seem longer and the jobs seem constant and everything in the zeitgeist is out to get you.
 
I recently had an old piece of work performed for the second time, but two years apart from its first airing. Whilst watching it I found moments I’d forgotten and other elements which jarred. But all in all it was a pleasure to see a different interpretation of the script and it showed my work to have a pulse longer than the few moments it was written. It was extremely well received by the audience and a big thank you must go to Oryx Productions who paired me up with director Ahmed El Alfy and actors Emma Darlow and Tom Phillips who were all ace. Here’s a lovely review of the night: (it’s quite a good one)
 
In my other job I had a meeting recently with a young filmmaker and we ended up talking about our past work and the notion of rewatching it through older eyes. She felt too close to her previous work and had distanced herself from it, going as far as to actually withdrawing it from public viewing. We talked about how we can see what was going on in our lives because of the content of our work, but only in retrospective. It’s true. For me I can glance back at stuff I’ve written and see it as useless because it’s not come from me now, it doesn’t have the same urgency that I strive for presently. Other times I re-read old material and question why I didn’t realise I was on to something back then and commit to the end. I always end up trying to think back about a lot of things when I get to bed.
 

 
It’s a conversation I’ve had with many and I’m sure some of the folks who read this blog will have had it too… New writing rarely gets restaged in London and it makes me wonder, why? London thrives with new writing but as soon as it’s gone anywhere near a stage it loses its shine, its ‘new’ tag, and it’s onto the next piece from someone else. Sure plays go on tour, but it makes me realise with more strength that London is possibly not the ‘new writing’ friendly place that it’s been talked up to be. You get the initial excitement of finally having some work on… But as soon as it’s gone up the first night you’re constantly having to prepare yourself for it to end because then it’s gone. Scurrying back into your computer folder to be forgotten about because you’re being ushered into writing something new, something current, something now.
 
I’ve dipped into my old folder of writing to uncover how different I am now so I can understand what I’ve achieved. I’m a person who can only figure out what I’ve done by glancing back to see what went before. It’s never as galling as you think it will be because let’s put it this way – if your previous work was bad, you’ve learnt something and if it’s not then you know you’re doing something right.
 
You keep going, you keep learning and you keep going. It’s not so bad to take a breather and look at where you’ve come from to see your achievements. I just know that I’m glad that I’ve not given up yet. 

48 Hour Film Challenge… London! September 23, 2012

I was kindly asked by new collaborator theatre director Ahmed El Alfy to be his designated scriptwriter for the 48 Hour Film Challenge in London. And of course I took him up on the offer. All the actors involved were Mountview graduates and from a theatre background, some had even graduated that same day. We met at Alfy’s flat.
 

 
FRIDAY 9:30pm – We’d been given the following elements to complete for our entry:
 
GENRE – Drama
PROP – Cream
LINE – “Let me tell you a secret”
CHARACTER – Charlie Cipriani (a minor celebrity)
 
Faced with 6 actors we then set about meandering our way to a story. I got everyone to take a few moments and think of something that had happened to them that day which they considered a drama, no matter how large or small they were. This opened up discussion from each story and then it was rapidly approaching midnight.
 
SATURDAY 12:00am – Straight into an improvised ensemble scene. I wrote down an intention for each actor to have in their pocket that only they would know and got them to interact in small groups. It was interesting to watch (I only knew one of the actors) and to grasp people’s abilities and strengths. I sat at the sidelines and scribbled anything that caught my eye and ear.
 
1:30am – We sent the actors home to return at 7am. Then it was up to me. The more I thought about it the more I realised I didn’t actually have that long. With such an early call time for the actors I needed to get a move on and fast. I definitely decided that it would be a collection of vignettes rather than a standard narrative. With 6 actors to juggle I wanted everyone to have a balanced story and I was never going to get that with everyone and keep it under 7 minutes.
 
2:30am – I sketched down ideas. I listened to Spiritualized (Let It Come Down). I listened to Nick Cave (Abattoir Blues). I listened to PJ Harvey (Is This Desire?). I didn’t know the password to the Internet connection at that point which was probably for the best. I had grasped a rough template of what I wanted to achieve and I nudged Alfy who was tweaking his first short film next to me. We discussed it and he asked me questions about the moments I had chosen to explore. Then I went back and fleshed out the story. The sky is an odd colour.
 
5:30am – Sitting at the computer I tapped, typed, took my time but ended up finishing a script. I woke Alfy from his slumber and we were both happy with the end product. I tentatively point out that I’ve written two exterior scenes, I ask what the weather’s going to be like later today.
 

 
7:00am – People start arriving and trickling into the living room. I’ve still not slept but don’t feel tired. I’d gone to bed late Thursday night and slept in till Friday lunchtime to conquer this.
 
7:40am – First read through of the script. It was a real treat seeing people notice some of the moments and dialogue they’d crafted from the improvisation seep into the script. Everyone seems happy with what we’re going to be working with.
 
8:30am – Actors are tasked with being off book asap. Most of them, if not all, do this within half an hour.
 
9:00am – Some folks have the brilliant idea of cooking sausages and fried eggs with bread rolls en masse. We are beginning to not be so concerned about the mammoth task ahead. Eggs and sausages make everything alright. This fuels us to chat more about individual scenes and character motivations and collectively scout for locations. I’ve written one pub scene, one park scene and one street scene. People soon realise they will be multitasking throughout the shoot.
 
10:45am – We arrive at the pub where scene two (and a small scene three) are set. The landlady’s been nice enough to let us in before the pub opens for business and this is through one of the actors who works there (and is also in this scene).
 

 
12:15pm – The pub opens for the general public and there’s football on. The locals are inquisitive and accommodating and surprise us all. They creep around like mice and watch the actors work. This amuses me greatly and I smile knowing there are nice folks. Things are taking time because the pub is next to a main road which meant lots of excess noise. We sit outside in the sun. It is sunny, my interior monologue high fives Ra.
 
3:15pm – Second location for us to find – a park with a free bench. We stroll to one near the pub… Which is small and filled with children. We walk to the other one close by and find a football match happening and a free bench just past them. We walk. Someone asks about the props for this scene… No one’s bought them. Off someone goes to the shop. People are beginning to feel more tired. I’m surprisingly awake still. I wasn’t even going to stick around the filming but I’m glad I did. We start shooting scene four, the last scene of the film.
 

 
4:00pm – One elderly jogger runs around us several times making sure to avoid the camera. Another younger jogger runs straight through shot each time on every lap. He does stupid arm exercises each time he gets to our patch. I laugh as I say that Alfy and Jack look like French auteurs as they smoke whilst working – they clamp the cigarettes between their teeth.
 
4:45pm – The squirty cream used as a prop has no squirt left in it. The strawberries look mushed to fuck. I buy Red Bull for myself and Alfy.
 
5:30pm – We head off to the last location to film the opening scene for the film. A dodgy street to film a mugging where in real life it’s known as a mugging hotspot. Great, authenticity. At one point we have to wait for two policemen to walk past before rolling.
 

 
6:30pm – It’s cold and I wish I had a coat. Still not slept, but still not feeling the need to. Everyone is so lovely and there’s no tension at all. One actor has to ‘mug’ the other actor many times and be shot from different angles each time. The last take he stacks it and falls to the ground, rolls it out and pegs it down the street as planned. The scene carries on and he jogs back. We don’t shoot that segment anymore (we don’t need to.)
 

 
7:00pm – It’s a wrap. We head back to one of the actor’s for well earned cups of tea and congratulate ourselves for the hardwork. Alfy looks like death and it’s only then that I feel my body stiffening with something that can only be described as reluctance to move.
 
9:30pm – I’m still at Alfy’s because I can’t be bothered to make the trek home. My gait has slowed and my eyes look like I’ve been crying for days. Still not slept.
 
10:00pm – I leave Alfy and Jack to start the long process of logging everything and syncing sound to start the mammoth intense session of editing. I’m on a bus heading to St. Pancras and sleep and nonsense are beginning to invade my limbs.
 
10:20pm – I stand at the ticket machine for a good 5 minutes before realising I was trying to buy a ticket to St. Pancras and the reason that wasn’t happening was because I was standing in St. Pancras. I buy a single journey ticket for St. Albans.
 
11:00pm – Dad comes to collect me from the station. I warn him that if he keeps the car this hot that I will fall asleep.
 
SUNDAY 12:01am – I’m emailing Alfy and Jack (producer) some music to be considered for the film and clambering into bed. I’m finally tired.
 
We then get word Sunday afternoon that there’s been technical difficulties. We won’t be able to hand in a version of the film to be considered for the competition because there’s no time to amend and edit before the cut off time. No one is angry, we’re all respectful of the hardwork we’ve all put in and are still excited by what we created. We’re all happy to have been involved in something great in a short amount of time and even though it won’t be part of the competition, we made a film and had a brilliant time doing it. A film is still a film and once it’s done and ready for folks to see, you’ll see it. I loved every second, shot, film roll, sound roll, and sleepless hour I got. 36 hours with no sleep and a bunch of new friends and a film. That’s not bad going considering we were all doing it for the experience… I think we’ll have to credit the sausages and the eggs.