~ Was it in vain?
~ That you took My name.
~ They crucify me like there’s no tomorrow.
~ There is no tomorrow.
~That’s OK for You to say.
~ I know.
~ But, down here, I don’t get a break.
~ Don’t you think there’s a reason for that?
~ You mean because they don’t understand me?
~ Perhaps more because they do.
~ Hey, I’m looking after Your country.
~ You have other sheep to tend to.
~ But I’m King of the World.
~ You have a big fall in front of you.
~ Oh, I’m protected. I have (haha) more money than God.
~ The eye of the needle is narrow indeed.
~ I’m no fool. I’ll get off and walk.
~ There is no one other to walk in your shoes.
~ You know, we even look alike.
The stage is as bare as my lady’s ass in his lordship’s bedchamber. Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination.
There’s many a dip ‘twixt the trap and the lip.
It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.
Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena upon which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a thespian’s hose. For who could allow this sacrilege to be spoken? Even the flag atop the pole knows that the magic is not yet arrived.
A stage without commercial trappings: without solid doors and thick drapes; uncluttered by pillars and arches, tables and chairs, windows and fireplaces; sans orchestra, sans balcony, sans pit. A stage revealing all its secrets. Profound as emptiness.
A stage in wait.
For in this world writ small – as in the globe around – the audience has nothing to know, nothing to learn, until the actor makes an entrance, and prepares to fight past our eyes to battle with those thoughts and fears which lurk in sheltered halls.
“What’s Hecuba to him?”
“Why – nothing.
“Merely a name on a page of script,
“A cue at which to turn his profile thus.”
“It is what Hecuba becomes to we who wait,
“That turns the key upon the heavy gate.”
It will take a whole host of other people to tell me how successful I will be. I’ve done it twice, and realize I must not only ignore my usual method of writing, but often go exactly against it.
I have attempted to “learn” how to write for film, with many instruction books, and classes, and workshops, and meetings with people. I read many film scripts, which did help me accept the (to my eye) arcane format. But the one thing which turned me visual was the comment of a writer/editor friend who said, after reading my attempt, “I can’t see it.” That is, it did not cause visual action in her mind. And I understood.
Perhaps the biggest hurdle to get over is to accept that a movie is not a book Changes, additions, and omissions will be necessary. As with a stage play, there is a finite time limit that generally clocks in under two hours. The threads and plot points of a movie are different. And the characters (I swear) feel this freedom, and choose to accentuate other aspects of themselves than are revealed in a novel.
The very fact their paragraphs of dialogue must be reduced to two or three lines makes them uppity. And because they can, in mere seconds, be in diverse locations, performing radically different actions, they become exact without apology. They don’t have to fill in the spaces.
The writer has to fill in the spaces however, and do so with visual stimulation. The transitions have to be swift. Their descriptions exact.
The road is always the fast lane, and the characters kick the tires with gusto.