Tuesday, November 11, 2014
I've put feature #1 and #2 on the shelf as I take the time to write #3 for a friend. It was her story idea. It's about death and guilt and family and immigrants and how the worst things that we think happen to us, can in fact be the events that usher us into so much goodness. 80 pages in one week. 40 more to go. Deadline?? Thursday. And then back to #1 and #2.
I had rehearsal in a hallway the day before Halloween in a building that housed a several theaters, offices, and a season costume shop. The elevator was broken so everyone was climbing the stairs, out of breath and excited for the occasion. As the array of people passed us by, anxious to get their costumes before the good ones sold out, I watched an actor emotionally unveil and crack away at her walls within. I was alone, with her. I sat criss cross next to the broken elevator while she stood by the steps, sometimes in tears. We finally made progress. After so much investment in booked rehearsal space with the two of us and the other actors, it was only when she and I sat alone that the story finally came to life.
The next rehearsal, I worked with her scene partner at a coffee shop - Cafe Puccini. There is something to be said about working with an actor alone. They, probably unknowingly, unveil different, more intimate connections to the material when it's just me sitting in front of them. Sometimes it's more effective then when they are with their scene partner. I like that I'm open to new ideas - to new ways of doing things. I'm never restricted to tradition or habit. My way is NEVER the highway. I'm restricted to the actor - to the DP. I'm restricted to my creative collaborators and their habits and their traditions in working. I'm here to figure them out, to find their strengths, to climb their mountains and to crack away at their specific walls so that I may reach into their hearts and work effectively create something honest and beautiful.
As a director, I stand on vision and my UNDERSTANDING of craft. THEY (the DPs, actors, production designers) actually carry it out.
FILMING Adore: 3 days.
Monday, October 13, 2014
"All About Eve" (1950) is possibly one of the best written films I've ever seen. The writing is so strong, so on point, and the acting just carries it away. You are swept away with each and every sentence spoken. My thoughts from this lean towards how to replicate it?? How do I write dialogue as witty and truthful as this?? Do I just write everything I want to say with no filter? Do I plan out specific topics I want to cover?? What kind of process will give me the best results?? So good.
I just learned this film is the only film to receive four female acting nominations. So awesome. GREAT job Joseph L. Mankiewicz.
"As a society we are embarrassed by love. We treat it as if it were an obscenity. We reluctantly admit to it. Even saying the word makes us stumble and blush...Love is the most important thing in our lives, a passion for which we would fight or die, and yet we're reluctant to linger over its names. Without a supple vocabulary, we can't even talk or think about it directly." -Diane Ackerman